Finished Product Quotes

Where’s everybody? I thought you had started production.”
“They’ve got a day off, but don’t worry you’ll see the machinery is here.”
But Brown was worried. As they entered the canteen, the lights came on
automatically. There was nobody there.
“What’s going…...” but he never finished the sentence. Brown felt a sharp pain on the
side of his head and everything went black.

I'm astounded whenever I finish something. Astounded and distressed. My perfectionist instinct should inhibit me from finishing: it should inhibit me from even beginning. But I get distracted and start doing something. What I achieve is not the product of an act of my will but of my will's surrender. I begin because I don't have the strength to think; I finish because I don't have the courage to quit. This book is my cowardice.

It seems to me that if you place music (and books, probably, and films, and plays, and anything that makes you feel) at the center of your being, then you can’t afford to sort out your love life, start to think of it as the finished product. You’ve got to pick at it, keep it alive and in turmoil, you’ve got to pick at it and unravel it until it all comes apart and you’re compelled to start all over again. Maybe we all live life at too high a pitch, those of us who absorb emotional things all day, and as a consequence we can never feel merely content: we have to be unhappy, or ecstatically, head-over-heels happy, and those states are difficult to achieve within a stable, solid relationship.

You know what the issue is? Do you want to know? It's what these guys have decided to call America. They have the audacity to say, 'There, you sons of bitches, don't lay a finger on it. That is a finished product.'" "But any country is still in the making. Always. That's just history, people have to see that.

Older people make this mistake all the time with younger people, treating them as a finished product when in fact they are in process.

Writing things was important, wasn't it? Nakata asked. 'Yes, it was. The process of writing was important. Even though the finished product is completely meaningless.

You can have everything in the world, but if you don't have love, none of it means crap," he said promptly. "Love is patient. Love is kind. Love always forgives, trusts, supports, and endures. Love never fails. When every star in the heavens grows cold, and when silence lies once more on the face of the deep, three things will endure: faith, hope, and love." And the greatest of these is love," I finished. "That's from the Bible." First Corinthians, chapter thirteen," Thomas confirmed. "I paraphrased. Father makes all of us memorize that passage. Like when parents put those green yucky-face stickers on the poisonous cleaning products under the kitchen sink.

Art was as much in the activity as in the results. Works of art were not just the finished product, but the thought, the action, the process that created them.

Because she was raw and uncertain, and she liked to keep all the messy parts of herself to herself. ... As much as Lena liked to hide the mess and display the finished product, by this point she was all mess and no product.

First one gives off his best picture, the bright and finished product mended with bluff and falsehood and humor. Then more details are required and one paints a second portrait, and third---before long the best lines cancel out---and the secret is exposed at last; the planes of the picture have intermingled and given us away, and though we paint and paint we can no longer sell a picture. We must be satisfied with hoping such fatuous accounts of ourselves as we make to our wives and children and business associates are accepted as true.

I, on the other hand, am a finished product. I absorb electrical energy directly and utilize it with an almost one hundred percent efficiency. I am composed of strong metal, am continuously conscious, and can stand extremes of environment easily. These are facts which, with the self-evident proposition that no being can create another being superior to itself, smashes your silly hypothesis to nothing.

I'm always horrified whenever I finish anything. Horrified and desolate. My instinct for perfection should inhibit me from ever finishing anything; it should in fact inhibit me from ever beginning. But I become distracted and do things. My accomplishments are not the product of my applied will but a giving away of my will. I begin because I don't have the strength to think; I finish because I don't have soul enough to stop things. This book is my cowardice.

You seduced a young woman in order to be able to finish your talks with her. You could not do that without living with her. You could not live with her without seducing her; but that was the by-product. The point is that you can't otherwise talk. You can't finish talks at street corners; in museums; even in drawing-rooms. You mayn't be in the mood when she is in the mood – for the intimate conversation that means the final communion of your souls. You have to wait together – for a week, for a year, for a lifetime, before the final intimate conversation may be attained...and exhausted. So that... That in effect was love.

Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemed a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore. You're left with this pile of kittens lolling all over one another. Warm with life, hopelessly unstable. And then to put these things out as saleable items, you call them finished products - at times it's downright embarrassing just to think of it. Honestly, it can make me blush.

From the moment I start a new novel, life’s just one endless torture. The first few chapters may go fairly well and I may feel there’s still a chance to prove my worth, but that feeling soon disappears and every day I feel less and less satisfied. I begin to say the book’s no good, far inferior to my earlier ones, until I’ve wrung torture out of every page, every sentence, every word, and the very commas begin to look excruciatingly ugly. Then, when it’s finished, what a relief! Not the blissful delight of the gentleman who goes into ecstasies over his own production, but the resentful relief of a porter dropping a burden that’s nearly broken his back . . . Then it starts all over again, and it’ll go on starting all over again till it grinds the life out of me, and I shall end my days furious with myself for lacking talent, for not leaving behind a more finished work, a bigger pile of books, and lie on my death-bed filled with awful doubts about the task I’ve done, wondering whether it was as it ought to have been, whether I ought not to have done this or that, expressing my last dying breath the wish that I might do it all over again!

The growth of intimacy is like that. First one gives off his best picture, the bight and finished product mended with bluff and falsehood and humor. Then more details are required and one paints a second portrait, and a third--before long the best lines cancel out--and the secret is exposed at last; the panes of the pictures have intermingled and given us away, and though we paint and paint we can no longer sell a picture. We must be satisfied with hoping that such famous accounts of ourselves as we make to our wives and children and business associates are accepted as true.

Your interest is in the bloody loam but what I'm after is the finished product.

I decree and I declare that I am not a raw material but rather a finished product. God knows me and knows the reason for which he created me. I am not here on earth to merely live and depart.

the growth of intimacy is like that. First one gives off his best picture, the bright and finished product mended with bluff and falsehood and humour. Then more details are required and one paints a second portrait, and a third – before long the best lines cancel out – and the secret is exposed at last; the planes of the pictures have intermingled and given us away, and though we paint and paint we can no longer sell a picture. We must be satisfied with hoping that such fatuous accounts of ourselves as we make to our wives and children and business associates are accepted as true

Then when she really thought about it she realized she’d been becoming different people for as long as she could remember but had never really noticed, or had put it down to moods, or marriage, or motherhood. The problem was that she’d thought that at a certain point she would be a finished product.

He never created a finish product. Finished products are for decadent minds. His was an evolving mechanism and the Second Foundation was the instrument of that evolution.

but greatness is in the act of creation and not necessarily in the finished product. Creating is the yin to the yang of our consumption and the doorway to beauty that we all want to walk through. Creating is how I tell the world I love it.” I

Habitualization devours objects, clothes, furniture, one's wife, and the fear of war. If all the complex lives of many people go on unconsciously, then such lives are as if they had never been. Art exists to help us recover the sensation of life; it exists to make us feel things, to make the stone stony. The end of art is to give a sensation of the object seen, not as recognized. The technique of art is to make things 'unfamiliar,' to make forms obscure, so as to increase the difficulty and the duration of perception. The act of perception in art is an end in itself and must be prolonged. In art, it is our experience of the process of construction that counts, not the finished product.

They [INTJs] are likely, however, to organize themselves out of a job. They cannot continually reorganize the same thing, and a finished product has no more interest. Thus, they need successive new assignments, with bigger and better problems, to stretch their powers.

I think it's okay to just say who you are without it being final or something. I mean, none of us are finished products. We change. We keep changing. We won't be finished products 'til the day we die.

Elizabeth and Sunny seemed unable, or unwilling, to distinguish between a prototype and a finished product.

But the modern-day church doesn’t like to wander or wait. The modern-day church likes results. Convinced the gospel is a product we’ve got to sell to an increasingly shrinking market, we like our people to function as walking advertisements: happy, put-together, finished—proof that this Jesus stuff WORKS! At its best, such a culture generates pews of Stepford Wife–style robots with painted smiles and programmed moves. At its worst, it creates environments where abuse and corruption get covered up to protect reputations and preserve image. “The world is watching,” Christians like to say, “so let’s be on our best behavior and quickly hide the mess. Let’s throw up some before-and-after shots and roll that flashy footage of our miracle product blanching out every sign of dirt, hiding every sign of disease.” But if the world is watching, we might as well tell the truth. And the truth is, the church doesn’t offer a cure. It doesn’t offer a quick fix. The church offers death and resurrection. The church offers the messy, inconvenient, gut-wrenching, never-ending work of healing and reconciliation. The church offers grace. Anything else we try to peddle is snake oil. It’s not the real thing.

To all viewers but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experience of shaping the artwork.

Yes, it was. The process of writing was important. Even though the finished product is meaningless.

Now, I know I am not a craftsmen... but greatness is in the act of creation and not necessarily in the finished product. Creating is the yin to the yang of our consumption and the doorway to beauty that we all want to walk through. Creating is how I tell the world I love it." ~ Atticus

One day she had been out walking and she had wondered whether she had become a different person in the last year,.... Then when she really thought about is she realized she'd been becoming different people for as long as she could remember but had never really noticed, or had put it down to moods, or marriage, or motherhood. The problem was that she'd thought that at a certain point she would be a finished product. Now she wasn't sure what that might be, especially when she considered how sure she had been about it at various times in the past, and how wrong she'd been.

A person is not born as a finished product; we create ourselves every day. Resembling reality, no person is a fixed and unchangeable entity. Each of us is in the process of becoming. A person’s perspective on their life experiences depends upon reviewing and integrating an emotional gamut of reconciling values with applied effort.

The finished product is a result of a series of organic, creative mistakes--perception itself becoming the editor of the final report.

You won’t write well until you understand that writing is an evolving process, not a finished product. Nobody expects you to get it right the first time, or even the second time.

The future never enters the present as a finished product, but that doesn’t stop people from expecting it to arrive that way.

Indeed, there is a school of thought that any work on a branch is, in the lean sense, waste—inventory that is not being pulled into the finished product.

Never accept yourself as a finished product. Be a finished product when you die. As long as you have breath in your lungs, expand yourself.

We always started small, with some inspiration. We made demos. We mixed in feedback. We listened to guidance from smart colleagues. We blended in variations. We honed our vision. We followed the initial demo with another and then another. We improved our demos in incremental steps. We evolved our work by slowly converging on better versions of the vision. Round after round of creative selection moved us step by step from the spark of an idea to a finished product.

It’s nearly nightfall, the vast evening sky as resplendent and intricate as that quilt hanging from the wooden knob on the side of Grandma’s dresser. This sky is like the work of a seamstress, sown tangerine-orange, raspberry-pink, and dappled with cream-white clouds for an extra touch, the finished product so lush and vibrant that I could gape at it for hours.

Girls, when I was growing up, my parents used to say to me, ‘Tom, finish your dinner—people in China and India are starving.’ My advice to you is: Girls, finish your homework—people in China and India are starving for your jobs.” And in a flat world, they can have them, because in a flat world there is no such thing as an American job. There is just a job, and in more cases than ever before it will go to the best, smartest, most productive, or cheapest worker—wherever he or she resides.

I’m astounded whenever I finish something. Astounded and distressed. My perfectionist instinct should inhibit me from finishing; it should inhibit me from even beginning. But I get distracted and start doing something. What I achieve is not the product of an act of my will but of my will’s surrender. I begin because I don’t have the strength to think; I finish because I don’t have the courage to quit. This book is my cowardice.

Failure is not fatal nor that you are finished but the result of unfinished product waiting to be reproduced, reprocessed and polished. Failure is that you have learned your omissions, mistakes or what you did not do right or well at the last attempt. You can transform failure into a fortune by dealing with what went wrong. Failure is only a product of uncorrected mistakes.

Peace is not the product of a victory or a command. It has no finishing line, no final deadline, no fixed definition of achievement. Peace is a never-ending process, the work of many decisions.

I often wonder who will be the last person to see me alive. If I had to bet, it would be on the delivery boy from the Chinese take-out. I order in four nights out of seven. Whenever he comes I make a big production of finding my wallet. He stands in the door holding the greasy bag while I wonder if this is the night I'll finish off my spring roll, climb into bed, and have a heart attack in my sleep.

In Silicon Valley, start-ups don’t launch with polished, finished businesses. Instead, they release their “Minimum Viable Product” (MVP)—the most basic version of their core idea with only one or two essential features. The point is to immediately see how customers respond. And, if that response is poor, to be able to fail cheaply and quickly.

In Ranec’s eye the finest and most perfect example of anything was beautiful, and anything beautiful was the finest and most perfect example of spirit; it was the essence of it. That was his religion. Beyond that, at the core of his aesthetic soul, he felt that beauty had an intrinsic value of its own, and he believed there was a potential for beauty in everything. While some activities or objects could be simply functional, he felt that anyone who came close to achieving perfection in any activity was an artist, and the results contained the essence of beauty. But the art was as much in the activity as in the results. Works of art were not just the finished product, but the thought, the action, the process that created them.

Love isn't always easy, is it? That's because we're all different. We don't fit together as cleaning as the pieces of a jigsaw puzzle. Sometimes there are gaps. Holes. The finished product when we come together isn't always perfect. But as we're reminded in Corinthians, a love that keeps no record of wrongs...that perseveres...never fails.

Finish the most important tasks and stop wasting time on irrelevant activities.

You are NOT the person you think you are until you put those potential thoughts into action.

All we are is filters. Each of us has a unique filter that takes in information in a unique way and puts something new back into the world.

I’m obsessed with finishing as a skill. Over the years, I’ve realized that so many of the good things that have come my way are because I was able to finish what I started.

Life is not a sprint but a marathon. It’s long and hard. There is no reward for the quitters who quit halfway. You must reach the finish line to achieve something.

Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.

Listen carefully: you do not need to have a "productive" homeschool day to please the Savior. You do not need to have a clean house to please the Savior. You do not even need to have well-behaved kids to please Him. It doesn't matter if you hit every math problem, get through an entire spelling lesson, or whether your child loves learning the way you want him to. It doesn't matter! What matters is that we seek to imitate Christ. That we order our loves so that our hearts better reflect His.  Many days, checklists will go untouched, books will go unread, ducks will not line up in a row, no matter how much we strive. So cease striving. "It is our part to offer what we can, His to finish what we cannot." —— St. Jerome

The growth of intimacy is like that. First one gives off his best picture, the bright and finished product mended with bluff and falsehood and humor. Then more details are required and one paints a second portrait, and a third--before long the best lines cancel out--and the secret is exposed at last; the planes of the pictures have intermingled and given us away, and though we paint and paint we can no longer sell a picture.

I am describing again an interrupted revolution, the so-called Sexual Revolution. We see now the organized system of production and sales manages to profit by the confusion of the interruption, whereas a finished revolution would be a dead loss, since good sexual satisfaction costs nothing, it needs only health and affection.

Hundreds of experiments show that encounters with rude, insulting, and demeaning people undermine others’ performance—including their decision-making skills, productivity, creativity, and willingness to work a little harder and stay a little later to finish projects and to help coworkers who need their advice, skills, or emotional support.

If you’re a chronic procrastinator, I would highly suggest you only focus on one thing. It’s much better to finish the year achieving only one goal. Then to set three goals and achieve none because you procrastinated on all of them.

Brainstorm your big idea(s). (2 hrs) Identify your product, customer, competition, and sales/marketing strategy. (2 hrs) Identify your plan for operations, management, capitalization, and finances. (4 hrs) Create a life plan. (4 hrs) Validate your business idea. (8 hrs) Type up your finished business plan. (4 hrs) Execute and follow through on your plan.

Part of our skittishness about Christian perfection is linguistic confusion. The English word "perfect" has absorbed the Greek notion of "teleos". When the Greeks looked at a building's blueprint, they pictured the building whole and complete. They envisioned the blueprint finished down to the bathroom tile and announced, "Ah, this is perfect." The problem is that "teleos" suggests that perfection is something we can build or achieve. The Hebrews looked at the same blueprint more practically. They envisioned the process of building from hard hats to hammers, from scaffolding to skylights. "Ah," the Hebrews said. "This is perfect." The Hebrews and the early Christians understood perfection as a process, not a product. Our identity as Christians depends upon life lived in relationship with God, not upon the quality of our achievements.

This is roughly the worldview for Neon Genesis Evangelion. This is a worldview drenched in a vision of pessimism. A worldview where the story starts only after any traces of optimism have been removed. [...] They say, "To live is to change." I started this production with the wish that once the production complete, the world, and the heroes would change. That was my "true" desire. I tried to include everything of myself in Neon Genesis Evangelion-myself, a broken man who could do nothing for four years. A man who ran away for four years, one who was simply not dead. Then one thought. "You can't run away," came to me, and I restarted this production. It is a production where my only thought was to burn my feelings into film. I know my behavior was thoughtless, troublesome, and arrogant. But I tried. I don't know what the result will be. That is because within me, the story is not yet finished. I don't know what will happen to Shinji, Misato or Rei. I don't know where life will take them. Because I don't know where life is taking the staff of the production. I feel that I am being irresponsible. But... But it's only natural that we should synchronize ourselves with the world within the production. I've taken on a risk: "It's just an imitation." And for now I can only write this explanation. But perhaps our "original" lies somewhere within there.

It seems to me that if you place music (and books, probably, and films, and plays, and anything that makes you feel) at the center of your being, then you can’t afford to sort out your love life, start to think of it as the finished product. You’ve got to pick at it, keep it alive and in turmoil, you’ve got to pick at it and unravel it until it all comes apart and you’re compelled to start all over again. Maybe we all live life at too high a pitch, those of us who absorb emotional things all day, and as a consequence we can never feel merely content: we have to be unhappy, or ecstatically, head-over-heels happy, and those states are difficult to achieve within a stable, solid relationship. Maybe Al Green is directly responsible for more than I ever realized.

Everything is boring, boredom is the other epidemic which is making Europe ripe for decline. Boredom is the end product of each and every civilization. It is the arteriosclerosis of the great thinking peoples. The moment always arrives where even God, whether he’s called Zeus, Zebaoth or Zoroaster, has finished creating the universe and asks: “What’s the point of it, actually?” He yawns and chucks it aside. Mankind does the same with civilization. Boredom is the condition of a people which no longer believes but all the same is doing just fine. Boredom is when every clock in the country is predestined to be correct. When the same naive flowers blossom again in the month of March. When every day the deaths of good family fathers are announced in the papers. When a war breaks out in the Balkans. When poems go on about the stars. Boredom is a symptom of aging. Boredom is the diagnosis that talent and virtue are slowly being spent. Boredom is the life-long determination to a form of being which has worn itself out.

yet people and things have gone through something, something that did not, indeed, change them but that did (in a manner of speaking) affirm what they, and precisely they, were as individuals, something that did verify and establish their identity, their durability and continuity. The hammer of events shatters nothing and forges nothing-it merely tries the durability of an already finished product. And the product passes the test. Thus is constituted the artistic and ideological meaning of the Greek romance.

The fact is, they tell me, that they are forced to cut corners to meet production. They never have time to finish anything. Push for production robs them of the chance to go into the production area to learn the problems created by the designs that they construct.

Humility is the product of ongoing repentance as one decides against, turns from, and by watching and praying seeks to steer clear of pride in all its forms. And as the battle against pride in the heart is lifelong, so humility should become an ever more deeply seated attitude of living at the disposal of God and others—an attitude that veteran Christians should increasingly display. Real spiritual growth is always growth downward, so to speak, into profounder humility, which in healthy souls will become more and more apparent as they age.

We’re all products of the people who’ve loved us, ma’am. At least, that’s my opinion on the matter. We’re also formed by the people who didn’t love us. Sometimes it makes us hard, or heedless, but I don’t believe anyone’s ever finished becoming themselves. If that makes any sense.

The beastly Huns! They stood between him and Valentine Wannop. If they would go home he could be sitting talking to her for whole afternoons. That was what a young woman was for. You seduced a young woman in order to be able to finish your talks with her. You could not do that without living with her. You could not live with her without seducing her; but that was the by-product. The point is that you can’t otherwise talk.

I consider it an error in scientific communication that, most of the time, merely the polished and flawless results of natural research are displayed, as in an art show. And exhibit of the finished product alone has many drawbacks and dangers for both its creator and its users. The creator of the product will be only too ready to demonstrate perfection and flawlessness while concealing gaps, uncertainties and discordant contradictions of his insight into nature. He thus belittles the meaning of the real process of natural research. The user of the product will not appreciate the rigorous demands made on the natural scientist when the latter has to reveal and describe the secrets of nature in a practical way. He will never learn to think for himself and to cope by himself. Very few drivers have an accurate idea of the sum of human efforts, of the complicated thought processes and operations needed for manufacturing an automobile. Our world would be better off is the beneficiaries of work knew more about the process of work and the existence of the workers, if they did not pluck so thoughtlessly the fruits of labor performed by others.

The growth of intimacy is like that. First one gives off his best picture, the bright and finished product mended with bluff and falsehood and humor. Then more details are required and one paints a second portrait, and a third—before long the best lines cancel out—and the secret is exposed at last; the planes of the pictures have intermingled and given us away, and though we paint and paint we can no longer sell a picture. We must be satisfied with hoping that such fatuous accounts of ourselves as we make to our wives and children and business associates are accepted as true. "It

I worked in construction management and I don’t think construction workers are always honoured in the way they deserve. Barring natural disasters, a house or a 50-storey building is going to remain standing until it’s demolished, and that’s irrespective of the quality of craftsmanship. But the aesthetic qualities of good bricks will never be appreciated unless the workmanship is of the highest standard. Whether it’s writing, cooking or bricklaying, quality of workmanship will always be the determining factor as to whether or not the finished product turns out mediocre or really exceptional. The choice of brick - just like the choice of words or spices - may well have a large bearing on the aesthetics of a new build, be it a large housing estate or just an ordinary garden wall but put the trowel in the right hands and poor-quality bricks can be made to look much better than they really are.

There is no valid reason for the perennial Christian preference of biography, history, and the newspaper to fiction and poetry. The former tell us what happened, while literature tells us what happens. The example of the Bible, which is central to any attempt to formulate a Christian approach to literature, sanctions the imagination as a valid form of truth. The Bible is in large part a work of imagination. Its most customary way of expressing truth is not the sermon or the theological outline, but the story, the poem, and the vision--all of them literary forms and products of the imagination (though not necessarily the fictional imagination). Literary conventions are present in the Bible from start to finish, even in the most historically factual parts.

Commentary would come to life in 1945 amid widespread predictions that mass unemployment would resume as soon as war production ebbed. But it wouldn’t take long after the war to see that the dire prophecies had failed. It became clear that Western democracy was far from finished; American power seemed limitless.

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So perhaps we need to consider how to turn the idea of the pursuit of happiness into the happiness of the pursuit. People on a quest for something they find meaningful - whether that is building a boat or growing the perfect tomato - tend to be happier; they know that happiness is the by-product of the process and not a pot of gold at the finish line.

Artists frequently hide the steps that lead to their masterpieces. They want their work and their career to be shrouded in the mystery that it all came out at once. It’s called hiding the brushstrokes, and those who do it are doing a disservice to people who admire their work and seek to emulate them. If you don’t get to see the notes, the rewrites, and the steps, it’s easy to look at a finished product and be under the illusion that it just came pouring out of someone’s head like that. People who are young, or still struggling, can get easily discouraged, because they can’t do it like they thought it was done. An artwork is a finished product, and it should be, but I always swore to myself that I would not hide my brushstrokes.

The world couldn’t have been hungrier for Anthology, with a ten-hour documentary and three huge-selling volumes of outtakes, turning into a joyous global celebration. The Anthology double-CD packages might have been more purchased than played (everybody back then bought more music than they had time to listen to). They included two new songs, Lennon tape fragments that the others finished: “Free as a Bird” and “Real Love.” The flaw was Jeff Lynne’s production—George Martin wasn’t invited, because Harrison flatly refused to work with him. It’s ironic that when you watch Anthology, the only music that sounds dated is from 1995. But no matter how blasphemous the idea seemed, both songs were disarmingly beautiful, as was the documentary, to the point where you could drop in on any random hour (or binge all ten) and enjoy. One of the wisest decisions of Anthology was

But the modern-day church doesn't like to wander or wait. The modern-day church likes results. Convinced the gospel is a product we've got to sell to an increasingly shrinking market, we like our people to function as walking advertisements: happy, put-together, finished—proof that this Jesus stuff WORKS! At its best, such a culture generates pews of Stepford Wife-style robots with painted smiles and programmed moves. At its worst, it creates environments where abuse and corruption get covered up to protect reputations and preserve image. 'The world is watching,' Christians like to say, 'so let's be on our best behavior and quickly hide the mess. Let's throw up some before-and-after shots and roll that flashy footage of our miracle product blanching out every sign of dirt, hiding every sign of disease.' But if the world is watching, we might as well tell the truth. And the truth is, the church doesn't offer a cure. It doesn't off a quick fix. The church offers death and resurrection. The church offers the messy, inconvenient, gut-wrenching, never-ending work of healing and reconciliation. The church offers grace.

I’ve seen too many writers derail their creative process by stopping the action to tweak a word or a sentence. If you write a few paragraphs, then go back and polish them, you destroy all the forward momentum you had. It’s like shifting gears—forward, reverse, forward, reverse. You could burn out your mental transmission. If you can train yourself to save the criticism for the second draft, you’ll actually finish writing and have something to polish.

Look at it this way—before any of this wood became parts of the shelves or the desk or the chair, all of it was in pieces—just pieces of wood. But the wood was full of potential. It could be shaped into anything that a carpenter wanted it to be shaped into, turning it into a beautiful finished product. Now, not all carpenters are equal in skill—you know that. If a piece of wood is shaped by a poor carpenter, the finished product will be lacking somehow, in some way. "But if that wood is shaped by a master carpenter, then that piece will fit into this world precisely as it’s supposed to fit, whether it be a desktop or a cabinet shelf or a doorstop. And the way that I work wood is the way I try to work with people—with love and attention and caring—so that the wood and the people can reach their potential. And if someone lets you teach them, and is open to what you have to teach, then how can you go wrong?

So the Cassandras who warned that the thirty-five-hour week would send the French economy into instant meltdown have been proved wrong. The gross domestic product has grown, and unemployment, though still above the EU average, has fallen. Productivity also remains high. Indeed, some evidence suggests that many French workers are more productive now. With less time on the job, and more leisure to look forward to, they make greater efforts to finish their work before clocking off.

When Krispy Kreme opens in a new town, they begin by giving away thousands of donuts. Of course, the people most likely to show up for a free hot donut are those who have heard the legend of Krispy Kreme and are delighted that they’re finally in town. These sneezers are quick to tell their friends, sell their friends, even drag their friends to a store. And that’s where the second phase kicks in. Krispy Kreme is obsessed with dominating the donut conversation. Once they’ve opened their flagship stores in an area, they rush to do deals with gas stations, coffee shops, and delis. The goal? To make it easy for someone to stumble onto the product. They start with people who will drive twenty miles, and finish with people too lazy to cross the street.

The consumer is constantly screaming "Give me what I want!", while inside they are really thinking "Inspire me", even if they aren't consciously aware of it. To give the customer what they want is everything that is wrong with music today. Popular music just continues to get more and more dumbed down. The consumer doesn't know what they want, plain and simple, and if you ask them, they will likely regurgitate something that has already been recycled, filtered, over produced and watered down for the masses.

I have spent these last two days in concentrated introspection," said Cutie, "and the results have been most interesting. I began at the one sure assumption I felt permitted to make.I, myself, exist, because I think-" Powell groaned, "Oh, Jupiter, a robot Descartes!" "Who's Descartes?" demanded Donovan. "Listen, do we have to sit here and listen to this metal maniac-" "Keep quiet, Mike!" Cutie continued imperturbably, "And the question that immediately arose was: Just what is the cause of my existence?" Powell's jaw set lumpily. "You're being foolish. I told you already that we made you." "And if you don't believe us," added Donovan, "we'll gladly take you apart!" The robot spread his strong hands in a deprecatory gesture, "I accept nothing on authority. A hypothesis must be backed by reason, or else it is worthless - and it goes against all the dictates of logic to suppose that you made me." Powell dropped a restraining arm upon Donovan's suddenly unched fist. "Just why do you say that?" Cutie laughed. It was a very inhuman laugh - the most machine-like utterance he had yet given vent to. It was sharp and explosive, as regular as a metronome and as uninflected. "Look at you," he said finally. "I say this in no spirit of contempt, but look at you! The material you are made of is soft and flabby, lacking endurance and strength, depending for energy upon the inefficient oxidation of organic material - like that." He pointed a disapproving finger at what remained of Donovan's sandwich. "Periodically you pass into a coma and the least variation in temperature, air ressure, humidity, or radiation intensity impairs your efficiency. You are _makeshift_. "I, on the other hand, am a finished product. I absorb electrical energy directly and utilize it with an almost one hundred percent efficiency. I am composed of strong metal, am continuously conscious, and can stand extremes of environment easily. These are facts which, with the self-evident proposition that no being can create another being superior to itself, smashes your silly hypothesis to nothing.

I suppose you know the meaning of the pyramids." "I do." She halfway believed him. "Then will you please enlighten me? How come you found the meaning when so many others have failed?" "Simple. It's because others—like you yourself—have looked at pyramids wrong." "Looked at them wrong?" "Yep. You've looked at a pyramid as if it were a finished product, the whole item, the thing itself. But a pyramid is just a part of the thing, and the bottom part at that. Pyramids are pedestals, babe. A pyramid is merely a base for something else to stand on." "Are you serious?" "I am." "Well, Jesus, Bernard. What stood on the pyramids?" "Souls. Souls like you and me. And we have to stand on them now. The pyramid is the bottom, and the top is us. The top is all of us. All of us who're crazy enough and brave enough and in love enough. The pyramids were built as pedestals that the souls of the truly alive and the truly in love could stand upon and bark at the moon. And I believe that our souls, yours and mine, will stand together atop the pyramids forever.

We must let go of any fantasy concerning the church as a stable, predictable, well-regulated organization. If the church is truly the place in the world where the existence of God is brought to the level of narrative discernment, the the church will always be disorderly. …We must let go of the desire for theology to be a finished product of complete conceptual symmetry. If theology is in fact the attempt to understand living faith, then it must always be an unfinished process, for the data continues to come in, as the Living God persists in working through the lives of people and being revealed in their stories. …We must let go of any pretense of closing the New Testament within some comprehensive, all-purpose, singular reading which reduces its complexity to simplicity. We must recognize our attempts to reduce multiplicity to unity. We must recognize our tendency to seek a stable package of meaning that we can then apply to other situations or fit within our systematic theological constructs, so that, ideally, we need never really read the texts again.

In so far as I listen with interest to a record, it’s usually to figure out how it was arrived at. The musical end product is where interest starts to flag. It’s a bit like jigsaw puzzles. Emptied out of the box, there’s a heap of pieces, all shapes, sizes and colours, in themselves attractive and could add up to anything--intriguing. Figuring out how to put them together can be interesting, but what you finish up with as often as not is a picture of unsurpassed banality. Music’s like that." From “Derek Bailey and the Story of Free Improvisation” by Ben Watson, Verso, London, 2004, p. 440.

That was what a young woman was for. You seduced a young woman in order to be able to finish your talks with her. You could not do that without living with her. You could not live with her without seducing her; but that was the by-product. The point is that you can’t otherwise talk. You can’t finish talks at street corners; in museums; even in drawing-rooms. You mayn’t be in the mood when she is in the mood – for the intimate conversation that means the final communion of your souls. You have to wait together - for a week, for a year, for a lifetime, before the final intimate conversation may be attained … and exhausted … That in effect was love.

The concept of internal selection, of a hierarchy of controls which eliminate the consequences of harmful gene-mutations and co-ordinates the effects of useful mutations, is the missing link in orthodoxy theory between the 'atoms' of heredity and the living stream of evolution. Without that link, neither of them makes sense. There can be no doubt that random mutations do occur: they can be observed in the laboratory. There can be no doubt that Darwinian selection is a powerful force. But in between these two events, between the chemical changes in a gene and the appearance of the finished product as a newcomer on the evolutionary stage, there is a whole hierarchy of internal processes at work which impose strict limitations on the range of possible mutations and thus considerably reduce the importance of the chance factor. We might say that the monkey works at a typewriter which the manufacturers have programmed to print only syllables which exist in our language, but not nonsense syllables. If a nonsense syllable occurs, the machine will automatically erase it. To pursue the metaphor, we would have to populate the higher levels of the hierarchy with proof-readers and then editors, whose task is no longer elimination, but correction, self-repair and co-ordination-as in the example of the mutated eye.

their footfalls? Finally some combination thereof, or these many things as permutations of each other—as alternative vocabularies? However it was, by January I was winnowed, and soon dispensed with pills and analysis (the pills I was weaned from gradually), and took up my unfinished novel again, Our Lady of the Forest, about a girl who sees the Virgin Mary, a man who wants a miracle, a priest who suffers spiritual anxiety, and a woman in thrall to cynicism. It seems to me now that the sum of those figures mirrors the shape of my psyche before depression, and that the territory of the novel forms a map of my psyche in the throes of gathering disarray. The work as code for the inner life, and as fodder for my own biographical speculations. Depression, in this conceit, might be grand mal writer’s block. Rather than permitting its disintegration at the hands of assorted unburied truths risen into light as narrative, the ego incites a tempest in the brain, leaving the novelist to wander in a whiteout with his half-finished manuscript awry in his arms, where the wind might blow it away. I don’t find this facile. It seems true—or true for me—that writing fiction is partly psychoanalysis, a self-induced and largely unconscious version. This may be why stories threaten readers with the prospect of everything from the merest dart wound to a serious breach in the superstructure. To put it another way, a good story addresses the psyche directly, while the gatekeeper ego, aware of this trespass—of a message sent so daringly past its gate, a compelling dream insinuating inward—can only quaver through a story’s reading and hope its ploys remains unilluminated. Against a story of penetrating virtuosity—The Metamorphosis, or Lear on the heath—this gatekeeper can only futilely despair, and comes away both revealed and provoked, and even, at times, shattered. In lesser fiction—fiction as entertainment, narcissism, product, moral tract, or fad—there is also some element of the unconscious finding utterance, chiefly because it has the opportunity, but in these cases its clarity and force are diluted by an ill-conceived motive, and so it must yield control of the story to the transparently self-serving ego, to that ostensible self with its own small agenda in art as well as in life. * * * Like

Be kind to yourself. Stop telling yourself that whatever you are struggling with “should” be easy. If something is hard for you, it is hard for you. There are probably Reasons, though those may just be how you are wired. Acknowledge these things. When you finish something hard, be proud! Celebrate a little. And really, just stop saying “should” to yourself about your thoughts and feelings in any context. You feel how you feel. The things in your head are the things in your head. You can’t change either directly through sheer force of will. You can only change what you do. Stop beating yourself up for who and what you are right now–it isn’t productive. Focus on moving forward.

Convinced the gospel is a product we’ve got to sell to an increasingly shrinking market, we like our people to function as walking advertisements: happy, put-together, finished—proof that this Jesus stuff WORKS! At its best, such a culture generates pews of Stepford Wife–style robots with painted smiles and programmed moves. At its worst, it creates environments where abuse and corruption get covered up to protect reputations and preserve image. “The world is watching,” Christians like to say, “so let’s be on our best behavior and quickly hide the mess. Let’s throw up some before-and-after shots and roll that flashy footage of our miracle product blanching out every sign of dirt, hiding every sign of disease.

In meditation which is a continuous flow of staying in the state at all times and in every circumstance there is neither suppression nor production of dwelling and proliferation; if there is dwelling, that is the dharmakaya’s own face and if there is proliferation, that is preserved as the self-liveliness of wisdom, so, “Then, whether there is proliferation or dwelling,” Whatever comes from mind’s liveliness as discursive thoughts, be it the truth of the source—afflictions of anger, attachment, and so on—or the truth of unsatisfactoriness—the flavours of experience which are the feelings of happiness, sadness, and so on—if the nature of the discursive thoughts is known as dharmata, they become the shifting events of the dharmakaya, so, “Anger, attachment, happiness, or sadness,” That does not finish it though; generally speaking if they are met with through the view but not finished with by bringing them to the state with meditation, they fall into ordinary wandering in confusion and if that happens, you are bound into cyclic existence by the discursive thoughts of your own mindstream and, dharma and your own mindstream having remained separate, you become an ordinary person who has nothing special about them. Not to be separated from a great non-meditated self-resting is what is needed . . . Additionally, whatever discursive thought or affliction arises, it is not something apart from dharmakaya wisdom, rather, the nature of those discursive thoughts is actual dharmakaya, the ground’s luminosity. If that, which is called ‘the mother luminosity resident in the ground’, is recognized, there is self-recognition of the view of self-knowing luminosity previously introduced by the guru and that is called ‘the luminosity of the practice path’. Abiding in one’s own face of the two luminosities of ground and path become inseparable is called ‘the meeting of mother and son luminosities’ so, “The previously-known mother luminosity joins with the son.

There’s also an uneasiness that surrounds any effort to produce the best things you’re capable of producing, as this forces you to confront the possibility that your best is not (yet) that good. It’s safer to comment on our culture than to step into the Rooseveltian ring and attempt to wrestle it into something better. But if you’re willing to sidestep these comforts and fears, and instead struggle to deploy your mind to its fullest capacity to create things that matter, then you’ll discover, as others have before you, that depth generates a life rich with productivity and meaning. In Part 1, I quoted writer Winifred Gallagher saying, “I’ll live the focused life, because it’s the best kind there is.” I agree. So does Bill Gates. And hopefully now that you’ve finished this book, you agree too.

This is the science behind how UPF affects the human body: • The destruction of the food matrix by physical, chemical and thermal processing means that UPF is, in general, soft. This means you eat it fast, which means you eat far more calories per minute and don’t feel full until long after you’ve finished. It also potentially reduces facial bone size and bone density, leading to dental problems. • UPF typically has a very high calorie density because it’s dry, and high in fat and sugar and low in fibre, so you get more calories per mouthful. • It displaces diverse whole foods from the diet, especially among low-income groups. And UPF itself is often micronutrient-deficient, which may also contribute to excess consumption. • The mismatch between the taste signals from the mouth and the nutrition content in some UPF alters metabolism and appetite in ways that we are only beginning to understand, but that seem to drive excess consumption. • UPF is addictive, meaning that for some people binges are unavoidable. • The emulsifiers, preservatives, modified starches and other additives damage the microbiome, which could allow inflammatory bacteria to flourish and cause the gut to leak. • The convenience, price and marketing of UPF urge us to eat constantly and without thought, which leads to more snacking, less chewing, faster eating, increased consumption and tooth decay. • The additives and physical processing mean that UPF affects our satiety system directly. Other additives may affect brain and endocrine function, and plastics from the packaging might affect fertility. • The production methods used to make UPF require expensive subsidy and drive environmental destruction, carbon emissions and plastic pollution, which harm us all.

[from an entry by her daughter Camille] On the other hand, if cattle remain on pasture right to the end, that kind of beef is called "grass finished." The difference between this and CAFO beef are not just relevant to how kindly you feel about animals: meat and eggs of pastured animals also have a measurably different nutrient composition. A lot of recent research has been published on this subject, which is slowly reaching the public. USDA studies found much lower levels of saturated fats and higher vitamin E, beta-carotene, and omega-3 levels in meat from cattle fattened on pasture grasses (their natural diet), compared with CAFO animals ... Free-range beef also has less danger of bacterial contamination because feeding on grass maintains normal levels of acidity in the animal's stomach. At the risk of making you not want to sit at my table, I should tell you that the high-acid stomachs of grain-fed cattle commonly harbor acid-resistant strains of E. coli that are very dangerous to humans ... Free-range grazing is not just kinder to the animals and the surrounding environment; it produces an entirely different product.

One way to get a life and keep it is to put energy into being an S&M (success and money) queen. I first heard this term in Karen Salmansohn’s fabulous book The 30-Day Plan to Whip Your Career Into Submission. Here’s how to do it: be a star at work. I don’t care if you flip burgers at McDonald’s or run a Fortune 500 company. Do everything with totality and excellence. Show up on time, all the time. Do what you say you will do. Contribute ideas. Take care of the people around you. Solve problems. Be an agent for change. Invest in being the best in your industry or the best in the world! If you’ve been thinking about changing professions, that’s even more reason to be a star at your current job. Operating with excellence now will get you back up to speed mentally and energetically so you can hit the ground running in your new position. It will also create good karma. When and if you finally do leave, your current employers will be happy to support you with a great reference and often leave an open door for additional work in the future. If you’re an entrepreneur, look at ways to enhance your business. Is there a new product or service you’ve wanted to offer? How can you create raving fans by making your customer service sparkle? How can you reach more people with your product or service? Can you impact thousands or even millions more? Let’s not forget the M in S&M. Getting a life and keeping it includes having strong financial health as well. This area is crucial because many women delay taking charge of their financial lives as they believe (or have been culturally conditioned to believe) that a man will come along and take care of it for them. This is a setup for disaster. You are an intelligent and capable woman. If you want to fully unleash your irresistibility, invest in your financial health now and don’t stop once you get involved in a relationship. If money management is a challenge for you, I highly recommend my favorite financial coach: David Bach. He is the bestselling author of many books, including The Automatic Millionaire, Smart Women Finish Rich, and Smart Couples Finish Rich. His advice is clear-cut and straightforward, and, most important, it works.

We've known each other for years." "In every sense of the word." Tanya gave him a nudge and they shared another laugh. In every sense of the word... Daisy felt a cold stab of jealousy at their intimate moment. It didn't make sense. Her relationship with Liam wasn't real. But the more time she spent with him, the more the line blurred and she didn't know where she stood. "Daisy is a senior software engineer for an exciting new start-up that's focused on menstrual products," Liam said. "She's in line for a promotion to product manager. The company couldn't run without her." Daisy grimaced. "I think that's a bit of an exaggeration." "Take the compliment," Tanya said. "Liam doesn't throw many around... At least, he didn't used to." At least, he didn't used to... Was the bitch purposely trying to goad her with little reminders about her shared past with Liam? Daisy's teeth gritted together. Well, she got the message. Tanya was a cool, bike-riding, smooth-haired venture capitalist ex who clearly wasn't suffering in any way after her journey. She was probably so tough she didn't need any padding in her seat. Maybe she just sat on a board or the bare steel frame. Liam ran a hand through his hair, ruffling the dark waves into a sexy tangle. Was he subconsciously grooming himself for Tanya? Or was he just too warm? "What are you riding now?" "Triumph Street Triple 675. I got rid of the Ninja. Not enough power." "You like the naked styling?" Liam asked. Tanya smirked. "Naked is my thing, as you know too well." Naked is my thing... As you know too well... Daisy tried to shut off the snarky voice in her head, but something about Tanya set her possessive teeth on edge. "Do you want to join us inside?" Liam asked. "We're going to have a coffee before we finish the loop." Say no. Say no. Say no. "Sounds good." Tanya took a few steps and looked back over her shoulder. "Do you need a hand, Daisy?" Only to slap you.

A large brand will typically spend between 10 and 20 percent of their media buy on creative,” DeJulio explains. “So if they have a $500 million media budget, there’s somewhere between $50 to $100 million going toward creating content. For that money they’ll get seven to ten pieces of content, but not right away. If you’re going to spend $1 million on one piece of content, it’s going to take a long time—six months, nine months, a year—to fully develop. With this budget and timeline, brands have no margin to take chances creatively.” By contrast, the Tongal process: If a brand wants to crowdsource a commercial, the first step is to put up a purse—anywhere from $50,000 to $200,000. Then, Tongal breaks the project into three phases: ideation, production, and distribution, allowing creatives with different specialties (writing, directing, animating, acting, social media promotion, and so on) to focus on what they do best. In the first competition—the ideation phase—a client creates a brief describing its objective. Tongal members read the brief and submit their best ideas in 500 characters (about three tweets). Customers then pick a small number of ideas they like and pay a small portion of the purse to these winners. Next up is production, where directors select one of the winning concepts and submit their take. Another round of winners are selected and these folks are given the time and money to crank out their vision. But this phase is not just limited to these few winning directors. Tongal also allows anyone to submit a wild card video. Finally, sponsors select their favorite video (or videos), the winning directors get paid, and the winning videos get released to the world. Compared to the seven to ten pieces of content the traditional process produces, Tongal competitions generate an average of 422 concepts in the idea phase, followed by an average of 20 to 100 finished video pieces in the video production phase. That is a huge return for the invested dollars and time.

In a physician's office in Kearny Street three men sat about a table, drinking punch and smoking. It was late in the evening, almost midnight, indeed, and there had been no lack of punch. The gravest of the three, Dr. Helberson, was the host—it was in his rooms they sat. He was about thirty years of age; the others were even younger; all were physicians. "The superstitious awe with which the living regard the dead," said Dr. Helberson, "is hereditary and incurable. One needs no more be ashamed of it than of the fact that he inherits, for example, an incapacity for mathematics, or a tendency to lie." The others laughed. "Oughtn't a man to be ashamed to lie?" asked the youngest of the three, who was in fact a medical student not yet graduated. "My dear Harper, I said nothing about that. The tendency to lie is one thing; lying is another." "But do you think," said the third man, "that this superstitious feeling, this fear of the dead, reasonless as we know it to be, is universal? I am myself not conscious of it." "Oh, but it is 'in your system' for all that," replied Helberson; "it needs only the right conditions—what Shakespeare calls the 'confederate season'—to manifest itself in some very disagreeable way that will open your eyes. Physicians and soldiers are of course more nearly free from it than others." "Physicians and soldiers!—why don't you add hangmen and headsmen? Let us have in all the assassin classes." "No, my dear Mancher; the juries will not let the public executioners acquire sufficient familiarity with death to be altogether unmoved by it." Young Harper, who had been helping himself to a fresh cigar at the sideboard, resumed his seat. "What would you consider conditions under which any man of woman born would become insupportably conscious of his share of our common weakness in this regard?" he asked, rather verbosely. "Well, I should say that if a man were locked up all night with a corpse—alone—in a dark room—of a vacant house—with no bed covers to pull over his head—and lived through it without going altogether mad, he might justly boast himself not of woman born, nor yet, like Macduff, a product of Cæsarean section." "I thought you never would finish piling up conditions," said Harper, "but I know a man who is neither a physician nor a soldier who will accept them all, for any stake you like to name." "Who is he?" "His name is Jarette—a stranger here; comes from my town in New York. I have no money to back him, but he will back himself with loads of it." "How do you know that?" "He would rather bet than eat. As for fear—I dare say he thinks it some cutaneous disorder, or possibly a particular kind of religious heresy." "What does he look like?" Helberson was evidently becoming interested. "Like Mancher, here—might be his twin brother." "I accept the challenge," said Helberson, promptly. "Awfully obliged to you for the compliment, I'm sure," drawled Mancher, who was growing sleepy. "Can't I get into this?" "Not against me," Helberson said. "I don't want your money." "All right," said Mancher; "I'll be the corpse." The others laughed. The outcome of this crazy conversation we have seen.