First Stage Performance Quotes

I was hoping that Neville would assist me with the first stage of the operation,” he said, “and I am sure he will perform it admirably.

When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as "rootless and stemless." We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don't condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is.

Totus mundus agit histrionem. (All the World's a Stage.)" [Motto of William Shakespeare's Globe Theatre (f. 1599) and its acting company, The King's Men; taken from the first play to be performed on the new stage.]

An illusion has three stages. "First there is the setup, in which the nature of what might be attempted at is hinted at, or suggested, or explained. The apparatus is seen. volunteers from the audience sometimes participate in preparation. As the trick is being setup, the magician will make use of every possible use of misdirection. "The performance is where the magician's lifetime of practice, and his innate skill as a performer, cojoin to produce the magical display. "The third stage is sometimes called the effect, or the prestige, and this is the product of magic. If a rabbit is pulled from a hat, the rabbit, which apparently did not exist before the trick was performed, can be said to be the prestige of that trick.

Breakthrough moments are often the result of many previous actions, which build up the potential required to unleash a major change. This pattern shows up everywhere. Cancer spends 80 percent of its life undetectable, then takes over the body in months. Bamboo can barely be seen for the first five years as it builds extensive root systems underground before exploding ninety feet into the air within six weeks. Similarly, habits often appear to make no difference until you cross a critical threshold and unlock a new level of performance. In the early and middle stages of any quest, there is often a Valley of Disappointment. You expect to make progress in a linear fashion and it’s frustrating how ineffective changes can seem during the first days, weeks, and even months. It doesn’t feel like you are going anywhere. It’s a hallmark of any compounding process: the most powerful outcomes

(I pull the second to last item out of my bag. Her purple hair clip. She told me once how much it meant to her, and why she always keeps it.) This purple hair clip? It really is magic…just like your dad told you it was. It’s magic because, no matter how many times it lets you down…you keep having hope in it. You keep trusting it. No matter how many times it fails you, You never fail it. Just like you never fail me. I love that about you, because of you. (I set it back down and pull out a strip of paper and unfold it.) Your mother. (I sigh) Your mother was an amazing woman, Lake. I'm blessed that I got to know her, And that she was a part of my life, too. I came to love her as my own mom…just as she came to love Caulder and I as her own. I didn’t love her because of you, Lake. I loved her because of her. So, thank you for sharing her with us. She had more advice about Life and love and happiness and heartache than anyone I've ever known. But the best advice she ever gave me? The best advice she ever gave us? (I read the quote in my hands) "Sometimes two people have to fall apart, to realize how much they need to fall back together." (She’s definitely crying now. I place the slip back inside the satchel and take a step closer to the edge of the stage as I hold her gaze.) The last item I have wouldn’t fit, because you’re actually sitting in it. That booth. You’re sitting in the exact same spot you sat in when you watched your first performance on this stage. The way you watched this stage with passion in your eyes…I'll never forget that moment. It's the moment I knew it was too late. I was too far gone by then. I was in love with you. I was in love with you because of you. (I back up and sit down on the stool behind me, still holding her stare.) I could go on all night, Lake. I could go on and on and on about all the reasons I'm in love with you. And you know what? Some of them are the things that life has thrown our way. I do love you because you're the only other person I know that understands my situation. I do love you because both of us know what it's like to lose your mom and your dad. I do love you because you're raising your little brother, just like I am. I love you because of what you went through with your mother. I love you because of what we went through with your mother. I love the way you love Kel. I love the way you love Caulder. And I love the way I love Kel. So I'm not about to apologize for loving all these things about you, no matter the reasons or the circumstances behind them. And no, I don’t need days, or weeks, or months to think about why I love you. It’s an easy answer for me. I love you because of you. Because of every single thing about you.

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

And the touch of her own mask, at first cool and clammy leather, but quickly like a second skin, and the play it gives her, herself a stage, her every breath a performance, and yet (herein lies the magic) also and entirely true. Every game, every lie flirting and cruel - and the house is full of them, games and lies - is real as knives, for the masquerade has come to define the night. The false face of everyday, that hides reality beneath flesh and skin, is itself hidden beneath the fantasy that, because it is a product and reflection of the mind, is an honest facade. Sadie has lived a wary, defensive life, always urged by that self-preserving instinct to stay small, hidden, safe. She did not know she had an imp inside her until she wore it on her face. ("One Of The Hungry Ones")

No cause was won that wasn't first mocked, no gate stands wide that wasn't at first locked.

He seems, in manner and rank, above the class of young men who take that turn; but I remember hearing them say, that the little theatre at Fairport was to open with the performance of a young gentleman, being his first appearance on any stage.—If this should be thee, Lovel!—Lovel? yes, Lovel or Belville are just the names which youngsters are apt to assume on such occasions—on my life, I am sorry for the lad.

Similarly, habits often appear to make no difference until you cross a critical threshold and unlock a new level of performance. In the early and middle stages of any quest, there is often a Valley of Disappointment. You expect to make progress in a linear fashion and it’s frustrating how ineffective changes can seem during the first days, weeks, and even months. It doesn’t feel like you are going anywhere. It’s a hallmark of any compounding process: the most powerful outcomes are delayed.

The only thing certain in life is uncertainty. When you’re fearful of the unknown, what you’re really unsure of is your ability to create your own life. Replace that fear with curiosity: What success or great outcome could come from this? What can I learn about myself that will help me reach my goals? Every one of my DWTS partners was worried about that first performance in front of the camera. I worried a few of them might even quit before they ever had a chance to perform. But once you hit that stage, it becomes crystal clear. The fear has nothing to do with the reality of that dance. It comes from not knowing what the experience will be like. Once you feel it and live it, that crippling fear vanishes. But you have to trust yourself: you have to take that first step.

Greeks heard the poems read on stage while a group of dancers performed. Then a clever poet called Aeschylus came along and had a great idea. He put a second reader on stage. Now you had a ‘play’ –the first drama in the world.

I decided a long time ago that I didn’t want to go into comedy to make money. I just want to perform on that stage. If I do make money, then... great! But if I don’t, that’s okay. I’m satisfied living out this calling any way I can.

At her first and only ballet performance, Trixie had been the lead reindeer, drawing out the sleigh that held the Sugar Plum Fairy. She wore a white leotard and an antler headband, and had a painted red nose. Daniel hadn't taken his eyes off her, not for any of the three minutes and twenty-two seconds that she stood on that stage. He didn't want to take his eyes off her now, but part of this new routine of adolescence meant a portion of the dance took place offstage.

Over time I tried everything from “the good girl” with my “perform-perfect-please” routine, to clove-smoking poet, angry activist, corporate climber, and out-of-control party girl. At first glance these may seem like reasonable, if not predictable, developmental stages, but they were more than that for me. All of my stages were different suits of armor that kept me from becoming too engaged and too vulnerable. Each strategy was built on the same premise: Keep everyone at a safe distance and always have an exit strategy.

My first life fled without a fight and left nothing behind, so I doubt it was a loss worth mourning. A man I don’t remember mixed genes with a woman I can’t recall, and I was called to the stage. I stumbled through the curtain, squinting into the blinding light of the birth canal, and after a brief and banal performance, I died. This is the arc of the average life—unexamined, unremarked, unremarkable—and it should have ended there. In simpler times, life was a one-act play, and when it was over we took our bows and caught our roses and enjoyed any applause we earned, then the spotlight faded and we shuffled backstage to nibble crackers in the greenroom of eternity.

Finally, (and controversially) there might be a case – in monolingual classes – for allowing the learners to conduct some speaking activities, initially at least, in their mother tongue. Allowing learners to use their L1 in the interests of promoting talk and a sense of community may well be a necessary stage in the transition from a monolingual (L1) through a bilingual (L1 and L2) to finally a monolingual (L2) culture again. Certainly, if students are not used to having conversations in the classroom (in whatever language), they may become more disposed to the idea if there is an initial transition period of ‘L1 permissiveness’, or if tasks are first performed in the L1 (as a kind of rehearsal) before moving into the L2.

I will do my best to make sure you have everything you require to see it through. What if you find yourself enamored with cheese and wish to become a fromager? I will make that happen. An actor? I don’t know how much more I could teach you as you’ve already proven adept at staging plays on your own, but I will attend every performance, and I will be the first to rise in what I imagine will be a thunderous standing ovation.

Like here it was that I entered that stage when a child overcomes naivite enough to realize an adult's emotional reaction as somethimes freakish for its inconsistencies, so can, on his own reasoning canvas, paint those early pale colors of judgement, resulting from initial moments of ability to critically examine life's perplexities, in tentative little brain-engine stirrings, before they faded to quickly join that train of remembered experience carrying signals indicating existence which itself far outweighs traction effort by thinking's soon slipping drivers to effectively resist any slack-action advantage, for starting so necessitates continual cuts on the hauler - performed as if governed lifelong by the tagwork of a student-green foreman who, crushed under on rushing time always building against his excessive load of emotional contents, is forever a lost ball in the high weeds of personal developments - until, with ever changing emphasis through a whole series of grades of consciousness (leading up from root-beginnings of obscure childish inconscious soul within a world), early lack - for what child sustains logic? - reaches a point of late fossilization, resultant of repeated wrong moves in endless switching of dark significances crammed inside the cranium, where, through such hindering habits, there no longer is the flexibility for thought transfer and unloading of dead freight that a standard gauge would afford and thus, as Faustian Destiny dictates, is an inept mink, limited, being in existence firmly tracked just above the constant "T" biased ballast supporting wherever space yearnings lead the worn rails of civilized comprehension, so henceforth is restricted to mere pickups and setouts of drab distortion, while traveling wearily along its familiar Western Thinking right-of-way. But choo-choo nonsense aside, ...

The audience roared and applauded again. A rush of actors exited the stage and filled the space around her. Shakespeare had already slipped away. She could see Daniel on the opposite wing of the stage.He towered over the other actors,regal and impossibly gorgeous. It was her cue to walk onstage. This was the start of the party scene at Lord Wolsey's estate, where the king-Daniel-would perform an elaborate masque before taking Anne Boleyn's hand for the first time. They were supposed to dance and fall heavily in love.It was supposed to be the very beginning of a romance that changed everything. The beginning. But for Daniel,it wasn't the beginning at all. For Lucinda,however, and for the character she was playing-it was love at first sight. Laying eyes on Daniel had felt like the first real thing ever to happen to Lucinda,just as it had felt for Luce at Sword & Cross. Her whole world had suddenly meant something in a way it never had before.

three levels of possession, all of which have their own “cures.” The first level is an infestation. It’s the lowest level and occurs when a demonic entity has made a nest in a building, but has not yet chosen a human body to reside in. Sometimes the demon intends to reside there without disturbing the humans it comes across and sometimes its intent is much more dastardly. The middle level is oppression. This is when a demon has chosen a human host and is trying to destroy its intellect and will. This is sometimes referred to as a transient stage when the demon is not fully in control of the human, but is trying to achieve it. To banish this level of demon, a priest like Bishop Long can perform a minor rite of exorcism. The highest level is full possession. At this point the demonic entity has full control of the human host and requires a solemn rite of exorcism to banish it. A demon can and will bring about death to its human host if it is not banished.

Similarly, habits often appear to make no difference until you cross a critical threshold and unlock a new level of performance. In the early and middle stages of any quest, there is often a Valley of Disappointment. You expect to make progress in a linear fashion and it’s frustrating how ineffective changes can seem during the first days, weeks, and even months. It doesn’t feel like you are going anywhere. It’s a hallmark of any compounding process: the most powerful outcomes are delayed. This is one of the core reasons why it is so hard to build habits that last. People make a few small changes, fail to see a tangible result, and decide to stop. You think, “I’ve been running every day for a month, so why can’t I see any change in my body?” Once this kind of thinking takes over, it’s easy to let good habits fall by the wayside. But in order to make a meaningful difference, habits need to persist long enough to break through this plateau—what I call the Plateau of Latent Potential.

Possession, he matter-of-factly explained, is the fourth stage of demonic activity. First comes encroachment, where a negative spirit is given an opening to a human being, either through voluntary means, such as a satanic ritual, or through involuntary means, such as a curse or the performance of an unholy act. The second stage is infestation, when the demons first haunt a person’s house. The third stage is oppression, when the spirits begin trying to take over the person living in the house. The final stage, after possession, is death.

{Stockton, a playwright who performed plays about Robert Ingersoll, gives the four moments in Ingersoll's life that shaped him, first being the death of his father, who was a reverend} Despite their opposing religious views, the old revivalist on his deathbed asked Bob to read to him from the black book clutched to his chest. Bob relented, took the book, and was surprised to discover that it wasn't the Bible. It was Plato describing the noble death of the pagan Socrates: a moving gesture of reconciliation between father and son in parting. The second event was Bob’s painful realization that his outspoken agnosticism not only invalidated his own political career but ended his brother Ebon’s career in Congress, as well. Third was the exquisite anguish of seeing his supportive wife Eva and his young daughters made to suffer for his right to speak his own mind. And fourth was the dramatic tension of having to walk out alone on public stages, in a glaring spotlight, time after time with death threats jammed in his tuxedo pocket informing him that some armed bigot in that night’s audience would see to it that he didn't leave the stage alive.

They seemed to me to invest with a fresh nobility Mme. Berma herself when I read in the newspapers, after the programme of these performances, that it was she who had decided to shew herself once more to the public in some of her early creations. She was conscious, then, that certain stage-parts have an interest which survives the novelty of their first production or the success of a revival; she regarded them, when interpreted by herself, as museum pieces which it might be instructive to set before the eyes of the generation which had admired her in them long ago, or of that which had never yet seen her in them.

The first time I heard rock music it was really exciting. I felt that this new music and vibe was really me. I remember going to bed and having dreams that I was performing this music and visualizing myself on stage, way before it actually happened… What always appealed to me about rock music is the feeling of freedom, that I could finally be who I wanted to be and sing the music that I felt in my heart. Some black people that I met in the music industry felt that we could be stronger and better empowered if we all stayed within in the same box, but I had always relished the fact that I never belonged to any cliques, or any scenes…

After DeepMind’s breakthrough, there’s no reason why a robot can’t ultimately use some variant of deep reinforcement learning to teach itself to walk without help from human programmers: all that’s needed is a system that gives it points whenever it makes progress. Robots in the real world similarly have the potential to learn to swim, fly, play ping-pong, fight and perform a nearly endless list of other motor tasks without help from human programmers. To speed things up and reduce the risk of getting stuck or damaging themselves during the learning process, they would probably do the first stages of their learning in virtual reality.

Imagine walking into a dark room and flipping on the light switch. You have performed this simple habit so many times that it occurs without thinking. You proceed through all four stages in the fraction of a second. The urge to act strikes you without thinking. By the time we become adults, we rarely notice the habits that are running our lives. Most of us never give a second thought to the fact that we tie the same shoe first each morning, or unplug the toaster after each use, or always change into comfortable clothes after getting home from work. After decades of mental programming, we automatically slip into these patterns of thinking and acting.

When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as “rootless and stemless.” We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don’t condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is.

According to their sacred texts, the earth was created in seven stages. First, the sky came into being—this was an inverted bowl of beautiful stone. Second, the water was created at the bottom of the sky shell, and then third, the earth that floated on water. To this the gods added one plant, one animal, and a bull, and then in the sixth stage, man. Fire was added in the seventh stage, pervading the entire world and residing in seen and unseen places. As a final act of creation the gods assembled and performed the first sacrifice. The primordial plant, the bull, and the man were crushed and from them the vegetable, animal, and human realms were created and populated the earth. New life and death were created, and the world was set in motion.

Brahms' friends in Budapest finally managed to talk him into attending the performance of Don Giovanni - he had initially turned down their invitation, arguing that he preferred to read the score and had never seen or heard a decent performance of the work. He would even prefer a cold beer, he insisted. But in the end he allowed his friends to drag him along to their box, where he demonstratively settled down on a sofa at the back in the hope of enjoying a rest. But it was not long before he was making increasingly inarticulate noises indicative of his enthusiasm, and at the end of the first act he was heard to shout out: 'Most excellent, admirable, what a deuce of a fellow!' He then ran on to the stage and embraced Mahler with typically grumpy cordiality.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as “rootless and stemless.” We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don’t condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is. Similarly, the errors we make can be seen as an important part of the developing process. In its process of developing,

I saw the power this respect holds in traditional cultures on our family sabbatical to Thailand and Bali. My daughter Caroline studied Balinese dance for two months with a wonderful teacher, and he proposed to stage a farewell recital for her at his school, which is also his home. When we arrived, they set up the stage, got the music ready, and then started to dress Caroline. They took a very long time dressing a six-year-old whose average attention span is about five minutes. First they draped her in a silk sarong, with a beautiful chain around her waist. Then they wrapped embroidered silk fifteen times around her chest. They put on gold armbands and bracelets. They arranged her hair and put golden flowers in it. They put on more makeup than a six-year-old could dream of. Meanwhile, I sat there getting impatient, the proud father eager to take pictures. It was getting dark. “When are they going to finish dressing her and get on with the recital?” Thirty minutes, forty-five minutes. Finally the teacher’s wife came out and took off her own golden necklace and put it around my daughter’s neck. Caroline was thrilled. When I let go of my impatience, I realized what a wonderful thing was happening. In Bali, whether a dancer is six or twenty-six, she is equally honored and respected. She is an artist who performs not for the audience but for the gods. The level of respect that Caroline was given as an artist allowed her to dance beautifully. Imagine how you would feel if you were given that respect as a child. We need to learn respect for ourselves, for one another, to value our children through valuing their bodies, their feelings, their minds. Children may be limited in what they can do, but their spirit isn’t limited.

There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them. Save for the exquisite oeuvre of a certain Mr. Lomond, I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics. It therefore struck me as bizarre that I was humming a tune from Oliver! I mentally added the exclamation mark, which, for the first time ever, was appropriate. Who will buy this wonderful evening? Who indeed?

The abject impulse is inalienably connected with the feminine, specifically the maternal. As it forms out of the undefined morass of relations, surfaces and currents that existed before the Oedipal or mirror-stage coordinated them, the subject seems built around a primal sense of loss. The developing sense of the limits of the body is focussed on those holes in it's surface through which the outside becomes inside and vice versa: the mouth, anus, genitals, even the invisibly porous surface of the skin. It was the mother's body that was most connected with these crossing-points, as it fed and cleaned the undefined infant body. The sense that boundaries and limits are forming around this permable flesh is interpreted then as the withdrawal or even loss, of intimacy with the body of the mother, firstly in the increasing distance of the practical hygiene operations it performs and secondly, more remotely, beyond that in it's archaic ur-form as the body through which the child entered into the world.

Suddenly he thought of Wick. He would be at the opera now. Helen would be there too, sitting beside him in the great nearly dark house (she’s only going because of you). The two of them would be looking at the brilliantly lighted sailing-ship scene that was the first act, and now and again one of them would lean toward the other and whisper something about the performance. Not about him; they wouldn’t be talking about him now. Chiefly because he was the only thing on their minds and neither wanted the other to know it. Helen would be wondering if he really wasn’t feeling well, or was he off again; and Wick would be wondering if Helen had accepted the excuse. She didn’t give a damn for the opera under any conditions and he certainly didn’t under these. He would be staring at the stage, half-turned toward Helen to catch her next whispered comment, and thinking: “If he isn’t there when I go back; if he’s gone out—” Don felt sorry for the distraction he knew he was causing them, and yet he couldn’t help smiling, too.

The deeply flushed midsummer sunlight, the strong, clear alcohol filling a dirty glass, a goat tethered with a rope, the enormous sides of a glitteringly white modern building, the solemn melody of the national orchestra, the slender-necked actress who was performing on the stage, the arc of a rainbow which, after a sudden shower, fell to the earth like an arrow from between the clouds, a sheepdog pressed flat under the wheel of a car, a herd of stubborn goats bobbing their heads with profound indifference, blue cloth fluttering in the wind, designating something sacred, a swarthy woman looking down on the street below from a first-floor window, her exposed chest leaning out over the wooden frame, cat-sized rats threading their way around the legs of market stalls, unlit signs and display windows, a sombrely lit butcher’s fridge, each dark red carcass still buttressed with the animal’s skeleton, Banchi’s printing shop, on the ground floor of a temple on the main street in the city centre, there Banchi makes picture postcards featuring his own translations of Indian sutras.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

What is so rewarding about friendship?” my son asked, curling his upper lip into a sour expression. “Making friends takes too much time and effort, and for what?” I sat on the edge of his bed, understanding how it might seem simpler to go at life solo. “Friendship has unique rewards,” I told him. “They can be unpredictable. For instance....” I couldn’t help but pause to smile crookedly at an old memory that was dear to my heart. Then I shared with my son an unforgettable incident from my younger years. “True story. When I was about your age, I decided to try out for a school play. Tryouts were to begin after the last class of the day, but first I had to run home to grab a couple props for the monologue I planned to perform during tryouts. Silly me, I had left them at the house that morning. Luckily, I only lived across a long expanse of grassy field that separated the school from the nearest neighborhood. Unluckily, it was raining and I didn’t have an umbrella. “Determined to get what I needed, I raced home, grabbed my props, and tore back across the field while my friend waited under the dry protection of the school’s wooden eaves. She watched me run in the rain, gesturing for me to go faster while calling out to hurry up or we would be late. “The rain was pouring by that time which was added reason for me to move fast. I didn’t want to look like a wet rat on stage in front of dozens of fellow students. Don’t ask me why I didn’t grab an umbrella from home—teenage pride or lack of focus, I’m not sure—but the increasing rain combined with the hollering from my friend as well as my anxious nerves about trying out for the play had me running far too fast in shoes that lacked any tread. “About a yard from the sidewalk where the grass was worn from foot traffic and consequently muddied from the downpour of rain, I slipped and fell on my hind end. Me, my props, and my dignity slid through the mud and lay there, coated. My things were dripping with mud. I was covered in it. I felt my heart plunge, and I wanted to cry. I probably would have if it hadn’t been for the wonderful thing that happened right then. My crazy friend ran over and plopped herself down in the mud beside me. She wiggled in it, making herself as much a mess as I was. Then she took my slimy hand in hers and pulled us both to our feet. We tried out for the play looking like a couple of swine escaped from a pigsty, laughing the whole time. I never did cry, thanks to my friend. “So yes, my dear son, friendship has its unique rewards—priceless ones.

I worked on a new dish while you were away. A pudding." She ties her apron tight around her waist. "Milk, cream, vanilla, eggs, and sugar." "Oh," I say, slightly unsettled at the jauntiness of her tone, at its certainty. "A custard? Did it curdle?" She ignores my question and tells me that she garnished her pudding with branches of preserved barberries. She asks if I would like to see it. But before I can answer she scuttles to the pantry, returning with a clean pudding cloth over one arm, and my best platter----on which wobbles a custard as large and pale as a harvest moon. Atop are woven branches of barberries that wink like garnets. For a second I am speechless. Her creation---for it is nothing less---is picture-perfect. She offers me an egg spoon and jabs at the platter. "Go on, Miss Eliza. I saved it for you to taste first." I dip the spoon into the custard's wrinkled rind and lift it swiftly, curiously, to my lips. As I do so, I'm aware of a sense of serenity washing through me. My anguish over dedications, the lurking accusatory voice that lives inside my head, all of it slips away. And there is only cream and vanilla. It occurs to me that although this glorious pudding is her creation, Ann is partly my creation, and I am partly her creation. Cooking and tasting have provided their own stage and we are performing on it at this very moment.

Bell resisted selling Texas Instruments a license. “This business is not for you,” the firm was told. “We don’t think you can do it.”38 In the spring of 1952, Haggerty was finally able to convince Bell Labs to let Texas Instruments buy a license to manufacture transistors. He also hired away Gordon Teal, a chemical researcher who worked on one of Bell Labs’ long corridors near the semiconductor team. Teal was an expert at manipulating germanium, but by the time he joined Texas Instruments he had shifted his interest to silicon, a more plentiful element that could perform better at high temperatures. By May 1954 he was able to fabricate a silicon transistor that used the n-p-n junction architecture developed by Shockley. Speaking at a conference that month, near the end of reading a thirty-one-page paper that almost put listeners to sleep, Teal shocked the audience by declaring, “Contrary to what my colleagues have told you about the bleak prospects for silicon transistors, I happen to have a few of them here in my pocket.” He proceeded to dunk a germanium transistor connected to a record player into a beaker of hot oil, causing it to die, and then did the same with one of his silicon transistors, during which Artie Shaw’s “Summit Ridge Drive” continued to blare undiminished. “Before the session ended,” Teal later said, “the astounded audience was scrambling for copies of the talk, which we just happened to bring along.”39 Innovation happens in stages. In the case of the transistor, first there was the invention, led by Shockley, Bardeen, and Brattain. Next came the production, led by engineers such as Teal. Finally, and equally important, there were the entrepreneurs who figured out how to conjure up new markets. Teal’s plucky boss Pat Haggerty was a colorful case study of this third step in the innovation process.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

The Son of God dies in splendor and majesty, not in defeat and loss. The crucifixion event covers about six hours. During those six hours, the gospel writers capture a series of seven sayings of Christ from the tree of death—sometimes referred to as the Seven Last Words. The first three statements are horizontal in nature, describing Christ’s conclusion of His dealings with mankind. They are characterized by: Forgiveness: “Jesus was saying, ‘Father, forgive them; for they do not know what they are doing’” (Luke 23:34). Redemption: “He said to [the thief on the cross], ‘Truly I say to you, today you shall be with Me in Paradise’” (23:43). Compassion: “When Jesus then saw His mother, and the disciple whom He loved standing nearby, He said to His mother, ‘Woman, behold, your son!’ Then He said to the disciple, ‘Behold, your mother!’ From that hour the disciple took her into his own household” (John 19:26-27). * Even in the middle of His pain and anguish, Jesus took the time to perform the duty of the oldest son in caring for His mother. Having cared for those around Him,* the Savior turned His attention heavenward and to the ultimate task at hand. His final four statements engage His Father in the redemptive act that is occurring on the cross of Calvary. These statements express the spiritual aspects of Christ’s work as He progresses through these stages: Abandonment: “About the ninth hour Jesus cried out with a loud voice, saying, ‘Eli, Eli, lama sabachthani?’ that is, ‘My God, My God, why have You forsaken Me?’” (Matthew 27:46). Readiness: “After this, Jesus, knowing that all things had already been accomplished, to fulfill the Scripture, said, ‘I am thirsty’” (John 19:28). Fulfillment: “Therefore when Jesus had received the sour wine, He said, ‘It is finished!’ And He bowed His head and gave up His spirit” (John 19:30). Release: “Jesus, crying out with a loud voice, said, ‘Father, into Your hands I commit My spirit.’ Having said this, He breathed His last” (Luke 23:46). The charge that was placed above His head read: “this is Jesus the King of the Jews” (Matthew 27:37). Everything about His crucifixion spoke of His true majesty, not only as the King of the Jews but also as the King of kings.

The first signal of the change in her behavior was Prince Andrew’s stag night when the Princess of Wales and Sarah Ferguson dressed as policewomen in a vain attempt to gatecrash his party. Instead they drank champagne and orange juice at Annabel’s night club before returning to Buckingham Palace where they stopped Andrew’s car at the entrance as he returned home. Technically the impersonation of police officers is a criminal offence, a point not neglected by several censorious Members of Parliament. For a time this boisterous mood reigned supreme within the royal family. When the Duke and Duchess hosted a party at Windsor Castle as a thank you for everyone who had helped organize their wedding, it was Fergie who encouraged everyone to jump, fully clothed, into the swimming pool. There were numerous noisy dinner parties and a disco in the Waterloo Room at Windsor Castle at Christmas. Fergie even encouraged Diana to join her in an impromptu version of the can-can. This was but a rehearsal for their first public performance when the girls, accompanied by their husbands, flew to Klosters for a week-long skiing holiday. On the first day they lined up in front of the cameras for the traditional photo-call. For sheer absurdity this annual spectacle takes some beating as ninety assorted photographers laden with ladders and equipment scramble through the snow for positions. Diana and Sarah took this silliness at face value, staging a cabaret on ice as they indulged in a mock conflict, pushing and shoving each other until Prince Charles announced censoriously: “Come on, come on!” Until then Diana’s skittish sense of humour had only been seen in flashes, invariably clouded by a mask of blushes and wan silences. So it was a surprised group of photographers who chanced across the Princess in a Klosters café that same afternoon. She pointed to the outsize medal on her jacket, joking: “I have awarded it to myself for services to my country because no-one else will.” It was an aside which spoke volumes about her underlying self-doubt. The mood of frivolity continued with pillow fights in their chalet at Wolfgang although it would be wrong to characterize the mood on that holiday as a glorified schoolgirls’ outing. As one royal guest commented: “It was good fun within reason. You have to mind your p’s and q’s when royalty, particularly Prince Charles, is present. It is quite formal and can be rather a strain.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

With the increasing recognition of Jews as the parasitic germs of these diseases, state after state was forced in the last years to take a position on this fateful question for nations. Imbued with the instinct of self-preservation, they had to take those measures which were suited to protect for good their own people against this international poison. Even if Bolshevik Russia is the concrete product of this Jewish infection, one should not forget that democratic capitalism creates the conditions for it. In this way, the Jews prepare what the same Jews execute in the second stage of this process. In the first stage, they deprive the majority of men of their rights and reduce them to helpless slaves. Or, as they themselves put it, they make them expropriated proletarians in order to spur them on, as a fanaticized mob, to destroy the foundations of their state. Later, this is followed by the extermination of their own national intelligentsia, and finally by the elimination of all cultural foundations that, as a thousand-year-old heritage, could provide these people with their inner worth or serve as a warning to the future. What remains after that is the beast in man and a Jewish class that, as parasites in leadership positions, will in the end destroy the fertile soil on which it thrives. On this process-which according to Mommsen results in the Jewish engineered decomposition of people and states-the young, awakening Europe has now declared war. Proud and honorable people in other parts of the world have allied themselves to it. They will be joined by hundreds of millions of oppressed men who, irrespective of how their present leaders may view this, will one day break their chains. The end of these liars will come, liars who claim to protect the world against a threatening domination but who actually only seek to save their own world-rule. We are now in the midst of this mighty, truly historic awakening of the people, partly as leading, acting, or performing men. On the one side stand the men of the democracies that form the heart of Jewish capitalism, with their whole dead weight of dusty theories of state, their parliamentary corruption, their outdated social order, their Jewish brain trusts, their Jewish newspapers, stock exchanges, and banks-a combination, a mix of political and economic racketeers of the worst sort; on their side, there is the Bolshevik state, that is, that number of brutish men over whom the Jew, as in the Soviet Union, wields his bloody whip. And on the other side stand those nations who fight for their freedom and independence, for the securing of their people’s daily bread. Adolf Hitler – speech to the Reichstag April 26, 1942

If asked what manner of beast fascism is, most people would answer, without hesitation, "fascism is an ideology." The fascist leaders themselves never stopped saying that they were prophets of an idea, unlike the materialist liberals and socialists. Hitler talked ceaselessly of Weltanschauung, or "worldview," an uncomely word he successfully forced on the attention of the whole world. Mussolini vaunted the power of the Fascist creed. A fascist, by this approach, is someone who espouses fascist ideology - an ideology being more than just ideas, but a total system of thought harnessed to a world-shaping project... It would seem to follow that we should "start by examining the programs, doctrines, and propaganda in some of the main fascist movements and then proceed to the actual policies and performance of the only two noteworthy fascist regimes." Putting programs first rests on the unstated assumption that fascism was an "ism" like the other great political systems of the modern world: conservatism, liberalism, socialism. Usually taken for granted, that assumption is worth scrutinizing. The other "isms" were created in an era when politics was a gentleman's business, conducted through protracted and learned parliamentary debate among educated men who appealed to each other's reasons as well as their sentiments. The classical "isms" rested upon coherent philosophical systems laid out in the works of systematic thinkers. It seems only natural to explain them by examining their programs and the philosophy that underpinned them. Fascism, by contrast, was a new invention created afresh for the era of mass politics. It sought to appeal mainly to the emotions by the use of ritual, carefully stage-managed ceremonies, and intensely charged rhetoric. The role programs and doctrine play in it is, on closer inspection, fundamentally unlike the role they play in conservatism, liberalism, and socialism. Fascism does not rest explicitly upon an elaborated philosophical system, but rather upon popular feelings about master races, their unjust lot, and their rightful predominance over inferior peoples. It has not been given intellectual underpinnings by any system builder, like Marx, or by any major critical intelligence, like Mill, Burke, or Tocqueville. In a way utterly unlike the classical "isms," the rightness of fascism does not depend on the truth of any of the propositions advanced in its name. Fascism is "true" insofar as it helps fulfill the destiny of a chosen race or people or blood, locked with other peoples in a Darwinian struggle, and not in the light of some abstract and universal reason. The first fascists were entirely frank about this. "We [Fascists] don't think ideology is a problem that is resolved in such a way that truth is seated on a throne. But, in that case, does fighting for an ideology mean fighting for mere appearances? No doubt, unless one considers it according to its unique and efficacious psychological-historical value. The truth of an ideology lies in its capacity to set in motion our capacity for ideals and action. Its truth is absolute insofar as, living within us, it suffices to exhaust those capacities." The truth was whatever permitted the new fascist man (and woman) to dominate others, and whatever made the chosen people triumph.

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

When meditating, the yogi should first complete all the preparatory practices. He should go to the toilet and in a pleasant location free of disturbing noise he should think, "I will deliver all sentient beings to the state of enlightenment." Then he should manifest great compassion, the thought wishing to liberate all sentient beings, and pay homage to all the Buddhas and Bodhisattvas in the ten directions by touching the five limbs of his body to the ground. When you make prostrations, tradition recommends that you do so by touching your five limbs your forehead, two palms, and two knees to the ground. The important thing is that it should be done properly and with delight. It is unwholesome to perform prostrations either as a mere formality or under coercion.

No cause was won that wasn't first mocked, no gate was opened that wasn't first closed.

The legendary Broadway writer/producer/performer George M. Cohan is supposed to have once said: “In the first act, you get your main character up a tree. In the second act, you throw rocks at them. In the third act, you get them down.” The nature of what that tree is, and what those rocks are, is key. You could even say that “story = main character + tree + rocks.

that she looked upon a future career as a stage shot, and she went to her first performance with the assurance of one who had been doing it always.

1. Clarify Together At the first step, Clarify Together, you are ready to begin coaching. Start by making sure you have permission to coach the potential candidate, and verify that you have selected a time that works for you both. Clarifying Together is about setting the stage for the coaching conversation and making sure there is alignment about why you are engaging in this process. Here are some questions that may be helpful during this step: What are the most important visions, strategies, goals, or outcomes that you are seeking to accomplish? What are the benefits of going after these anticipated goals and key outcomes? What are the costs or negative consequences of not doing these things? What is the single most important thing to do now to advance toward your goal? What performance gaps, poor behaviors, or challenging issues need to be addressed? On a scale of 1 to 10 (with 10 being the highest), how likely are you to make your goal happen in the time frame you have committed to? How might you alter the plan to move it closer to a 10?

At the end of the scene, when Kathy kisses Don, Cosmo objects, thereby provoking Kathy to kiss him as well, to which he responds with girlish abashment (the exchange replays the part of “Good Mornin’” when Kathy sits first on Don’s knee, then on Cosmo’s). 2.5 2.6 2.7 Yet Don and Kathy do not yet engage fully as romantic partners, which becomes clear during the following number, Kelly’s famous solo rendition of the title song, “Singin’ in the Rain,” introduced by his deliberately isolating himself (kissing Kathy good night and then waving off the cab driver). Alone on the rain-drenched sound stage (assuming we have learned to recognize it as such from “You Were Meant for Me”), he clarifies the MERM-related function of such effects, which seem in themselves to demand that he sing. The coordination of MERM and Hollywood-style special effects is particularly close in this number, as he soon leaves the song behind, first to explore the sets and props conveniently at his disposal, and then to match the music’s crescendo with an expansive embrace of the larger space. Here, the camera cranes outward, and Kelly breaks through into a moment of “dancing-sublime,” when his dancing seems either to revert or to come full circle, returning to the primitive urge that gave it birth (thus his stomping and jumping in the puddle like an adolescent boy).34 But the number, through its supreme narcissism, actually does more to inhibit than to advance the plot.

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

Even with all of this plot to be dispensed, the songs do rise organically out of the script. Doris’s first entrance, in head-to-toe buckskin, finds her astride a stagecoach, belting out the very catchy Sammy Fain/Paul Francis Webster song “The Deadwood Stage (Whip Crack Away).” The rollicking tune and exuberant Day vocal match the physical staging of the song, and character is revealed. Similarly, later in the film there is a lovely quiet moment when Calamity, Bill, the lieutenant, and Katie all ride together in a wagon (with Calamity driving, naturally) to the regiment dance, softly singing the lilting “Black Hills of Dakota.” These are such first-rate musical moments that one is bound to ask, “So what’s the problem?” The answer lies in Day’s performance itself. Although Calamity Jane represents one of Day’s most fondly remembered performances, it is all too much by half. Using a low, gravelly voice and overly exuberant gestures, Day, her body perpetually bent forward, gives a performance like Ethel Merman on film: She is performing to the nonexistent second balcony. This is very strange, because Day is a singer par excellence who understood from her very first film, at least in terms of ballads, that less is more on film. Her understated gestures and keen reading of lyrics made every ballad resonate with audiences, beginning with “It’s Magic” in Romance on the High Seas. Yet here she is, fourteen films later, eyes endlessly whirling, gesturing wildly, and spending most of her time yelling both at Wild Bill Hickok and at the citizens of Deadwood City. As The New York Times review of the film held, in what was admittedly a minority opinion, “As for Miss Day’s performance, it is tempestuous to the point of becoming just a bit frightening—a bit terrifying—at times…. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.” She is butch in a very cartoonlike manner, although as always, the tomboyish Day never loses her essential femininity (the fact that her manicured nails are always evident helps…). Her clothing and speech mannerisms may be masculine, but Day herself never is; it is one of the key reasons why audiences embraced her straightforward assertive personality. In the words of John Updike, “There’s a kind of crisp androgynous something that is nice—she has backbone and spunk that I think give her a kind of stiffness in the mind.

Structured methods for learning Method Uses Useful for Organizational climate and employee satisfaction surveys Learning about culture and morale. Many organizations do such surveys regularly, and a database may already be available. If not, consider setting up a regular survey of employee perceptions. Useful for managers at all levels if the analysis is available specifically for your unit or group. Usefulness depends on the granularity of the collection and analysis. This also assumes the survey instrument is a good one and the data have been collected carefully and analyzed rigorously. Structured sets of interviews with slices of the organization or unit Identifying shared and divergent perceptions of opportunities and problems. You can interview people at the same level in different departments (a horizontal slice) or bore down through multiple levels (a vertical slice). Whichever dimension you choose, ask everybody the same questions, and look for similarities and differences in people’s responses. Most useful for managers leading groups of people from different functional backgrounds. Can be useful at lower levels if the unit is experiencing significant problems. Focus groups Probing issues that preoccupy key groups of employees, such as morale issues among frontline production or service workers. Gathering groups of people who work together also lets you see how they interact and identify who displays leadership. Fostering discussion promotes deeper insight. Most useful for managers of large groups of people who perform a similar function, such as sales managers or plant managers. Can be useful for senior managers as a way of getting quick insights into the perceptions of key employee constituencies. Analysis of critical past decisions Illuminating decision-making patterns and sources of power and influence. Select an important recent decision, and look into how it was made. Who exerted influence at each stage? Talk with the people involved, probe their perceptions, and note what is and is not said. Most useful for higher-level managers of business units or project groups. Process analysis Examining interactions among departments or functions and assessing the efficiency of a process. Select an important process, such as delivery of products to customers or distributors, and assign a cross-functional group to chart the process and identify bottlenecks and problems. Most useful for managers of units or groups in which the work of multiple functional specialties must be integrated. Can be useful for lower-level managers as a way of understanding how their groups fit into larger processes. Plant and market tours Learning firsthand from people close to the product. Plant tours let you meet production personnel informally and listen to their concerns. Meetings with sales and production staff help you assess technical capabilities. Market tours can introduce you to customers, whose comments can reveal problems and opportunities. Most useful for managers of business units. Pilot projects Gaining deep insight into technical capabilities, culture, and politics. Although these insights are not the primary purpose of pilot projects, you can learn a lot from how the organization or group responds to your pilot initiatives. Useful for managers at all levels. The size of the pilot projects and their impact will increase as you rise through the organization.

So interesting that Shore decided there might be a book in it. He set out to find fertile pairs—people who had been together for at least five years and produced interesting work. By the time he was done he had interviewed a comedy duo; two concert pianists who had started performing together because one of them had stage fright; two women who wrote mysteries under the name “Emma Lathen”; and a famous pair of British nutritionists, McCance and Widdowson, who were so tightly linked that they’d dropped their first names from the jackets of their books. “They were very huffy about the idea that dark bread was more nutritious than white bread,” recalled Shore. “They had produced the research that it wasn’t so in 1934—so why didn’t people stop fooling around with the idea?” Just about every work couple that Shore called were intrigued enough by their own relationships to want to talk about them. The only exceptions were “a mean pair of physicists” and, after flirting with participating, the British ice dancers Torvill and Dean. Among those who agreed to sit down with Miles Shore were Amos Tversky and Daniel Kahneman.

The first 90 days are a critical period of transition and transformation for a senior leader, where they establish their presence, build relationships, gain insights, and set the stage for their future leadership.

The Falcon 9’s two launch stages are engineered to return to earn. The first part of the rocket propels the rocket head and then returns to earth and lands where it fired from. This is done by using grid fins and the engines performing retry burning.

Alternatively, hunters may have caught and ‘adopted’ a lamb, fattening it during the months of plenty and slaughtering it in the leaner season. At some stage they began keeping a greater number of such lambs. Some of these reached puberty and began to procreate. The most aggressive and unruly lambs were first to the slaughter. The most submissive, most appealing lambs were allowed to live longer and procreate. The result was a herd of domesticated and submissive sheep. Such domesticated animals – sheep, chickens, donkeys and others – supplied food (meat, milk, eggs), raw materials (skins, wool), and muscle power. Transportation, ploughing, grinding and other tasks, hitherto performed by human sinew, were increasingly carried out by animals. In most farming societies people focused on plant cultivation; raising animals was a secondary activity. But a new kind of society also appeared in some places, based primarily on the exploitation of animals: tribes of pastoralist herders.

Entrepreneurs who lead late-stage startups must maintain balance while pursuing opportunity, which requires them to set goals for speed and scope that are sufficiently ambitious yet achievable. By “speed,” I mean the pace of expansion of the venture’s core business—that is, its original product offered solely in its home market. “Scope” is a broader concept that encompasses four dimensions. The first three—geographic reach, product line breadth, and innovation—collectively define the range of the startup’s product market: How many additional customer segments will be targeted, and which of their needs will be addressed? The fourth dimension, vertical integration, refers to the range of activities that the startup will perform in-house rather than outsourcing to third parties.

Snatch. The kettlebell snatch is a total-body exercise with special emphasis on the entire posterior chain. It simultaneously develops strength, explosiveness, structural integrity, cardiorespiratory capacity, and virtually every attribute on the athletic continuum. There are six stages to the snatch: Inertia swing Acceleration pull with hip and trapezius Hand insertion deep into the handle Overhead lockout Direction change into the drop Grip change into the backswing To perform this exercise, with the kettlebell on the floor in front of you, load your hips and grip the kettlebell with your fingers as you would for the swing (see figure 7.21a). Swing the kettlebell back between your legs as you begin to stand, further loading the hips (see figure 7.21b). As with the swing and clean, various thumb positions can be used in the downswing and upswing portion of the snatch. The most common is to rotate the thumb back at the end of the downswing and transition to a 45-degree angle (thumb up) at the beginning of the acceleration pull. Keep your arm connected to your body and extend your knees and hips, allowing the inertia of the kettlebell to pull your arm forward (figure 7.21c). Just as the arm begins to separate from the body, accelerate the kettlebell vertically as fast as you can by rapidly pulling with the hip, followed by a shrug of the trapezius. If you are snatching with your right hand, push forcefully with your left leg, pull back your right hip, and shrug with your right trapezius (see figure 7.21d). As the kettlebell is accelerating upward, release your fingers and insert your palm deeply into the handle (see figure 7.21e). Allow the momentum to carry the kettlebell all the way to the top and lock out your arm in the fully extended elbow position (see figure 7.21f). This overhead lockout position is identical to the overhead position in the push or push press (thumb facing back, no or minimal rotation). To drop the kettlebell back down, first shift your weight to the opposite foot (if snatching with the right hand, shift to the left foot) and lean your upper body back (see figure 7.21g). Keep your hips and torso extended maximally and let your triceps connect to your torso. Finish the downswing by changing grips and pulling your hand back to catch the handle with your fingers (see figure 7.21h), and tighten the fingers as you follow the kettlebell between your legs into the backswing (see figure 7.21i). Use the rhythmic motion to continue the snatch for the desired repetitions.

In 1971, there was the concert of all concerts, the Soul to Soul Music Festival, which was staged on March 6 as a celebration of Ghana’s fourteenth anniversary of independence. It was held in Accra, at Black Star Square, which is now called Independence Square, and it was fourteen hours long, ending at dawn. A number of Americans came to perform, like Wilson Pickett, Ike and Tina Turner, the Staple Singers, Santana, and Roberta Flack. For months before and for months afterward, Soul to Soul was the talk of the nation. Every town attempted their own mini replica, inviting multiple bands, trying to pack the venues and keep the show going until the crowd was knackered.

Metro Pillar – 211, 22, NDV Towers, First Floor, Kanakapura Rd, above Dry Fruit Shop, Raghuvanahalli, Bengaluru, Karnataka 560062 Contact Us +91 8618292628 Is Elite Orthocare Robotic Knee Replacement Better Than Conventional Surgery? Elite Orthocare's Robotic Total Knee Replacement, led by Dr. Abhinandan Punit, offers superior accuracy in implant positioning, resulting in better patient outcomes, reduced pain, faster recovery, and overall improved results. Robotic knee replacement at Elite Orthocare is among the most innovative technologies in orthopedic surgery. With thousands of robotic knee replacements performed worldwide, this advanced technology continues to set new standards in joint replacement. But you might ask: Does robotic knee replacement surgery in Bangalore really offer significant advantages over conventional surgery? Over 250 peer-reviewed studies highlight the enhanced clinical outcomes and patient benefits of robotic knee replacements compared to traditional manual methods. Here are the major differences between manual knee replacement and Elite Orthocare’s robotic knee replacement: Stage Manual Total Knee Replacement Elite Orthocare’s Robotic Knee Replacement Pre-surgery - Simple X-ray planning - CT scan-based planning for improved precision Surgery - Positioning with traditional tools - Robotic-assisted precise alignment - Larger incision needed - Smaller incision, less tissue damage - Standard ligament release - Minimal ligament release, reducing pain Post-Surgery Benefits of Elite Orthocare’s Robotic Knee Replacement: • Less pain • Faster recovery • Quicker return to mobility • Enhanced overall outcomes Understanding the Benefits of Elite Orthocare’s Robotic Knee Replacement: Accuracy: The robotic system used at Elite Orthocare ensures precise implant positioning and knee alignment. Studies show that robotic-assisted knee replacements are far more accurate than manual methods, ensuring better long-term results. For instance, one study revealed that robotic procedures were 47% more accurate in tibial component alignment and 36% more accurate in femoral component rotation compared to manual surgery. Outcomes: Patients undergoing robotic knee replacement with Dr. Abhinandan Punit report better functional outcomes, less post-operative pain, and higher satisfaction rates. Clinical studies show patients experience faster improvements in mobility and higher overall satisfaction compared to manual knee replacements. Why Choose Dr. Abhinandan Punit at Elite Orthocare? Dr. Abhinandan Punit, founder of Elite Orthocare, is an expert in robotic knee replacement surgery. With a wealth of experience and a dedication to providing top-notch care, Dr. Punit ensures the best outcomes for all his patients. If you're considering robotic knee replacement surgery in Bangalore or want to explore its benefits, book a consultation with Dr. Abhinandan Punit at Elite Orthocare today!

1 = Very important. Do this at once. 2 = Worth doing but takes more time. Start planning it. 3 = Yes and no. Depends on how it’s done. 4 = Not very important. May even be a waste of effort. 5 = No! Don’t do this. Fill in those numbers before you read further, and take your time. This is not a simple situation, and solving it is a complicated undertaking. Possible Actions to Take ____ Explain the changes again in a carefully written memo. ____ Figure out exactly how individuals’ behavior and attitudes will have to change to make teams work. ____ Analyze who stands to lose something under the new system. ____ Redo the compensation system to reward compliance with the changes. ____ “Sell” the problem that is the reason for the change. ____ Bring in a motivational speaker to give employees a powerful talk about teamwork. ____ Design temporary systems to contain the confusion during the cutover from the old way to the new. ____ Use the interim between the old system and the new to improve the way in which services are delivered by the unit—and, where appropriate, create new services. ____ Change the spatial arrangements so that the cubicles are separated only by glass or low partitions. ____ Put team members in contact with disgruntled clients, either by phone or in person. Let them see the problem firsthand. ____ Appoint a “change manager” to be responsible for seeing that the changes go smoothly. ____ Give everyone a badge with a new “teamwork” logo on it. ____ Break the change into smaller stages. Combine the firsts and seconds, then add the thirds later. Change the managers into coordinators last. ____ Talk to individuals. Ask what kinds of problems they have with “teaming.” ____ Change the spatial arrangements from individual cubicles to group spaces. ____ Pull the best people in the unit together as a model team to show everyone else how to do it. ____ Give everyone a training seminar on how to work as a team. ____ Reorganize the general manager’s staff as a team and reconceive the GM’s job as that of a coordinator. ____ Send team representatives to visit other organizations where service teams operate successfully. ____ Turn the whole thing over to the individual contributors as a group and ask them to come up with a plan to change over to teams. ____ Scrap the plan and find one that is less disruptive. If that one doesn’t work, try another. Even if it takes a dozen plans, don’t give up. ____ Tell them to stop dragging their feet or they’ll face disciplinary action. ____ Give bonuses to the first team to process 100 client calls in the new way. ____ Give everyone a copy of the new organization chart. ____ Start holding regular team meetings. ____ Change the annual individual targets to team targets, and adjust bonuses to reward team performance. ____ Talk about transition and what it does to people. Give coordinators a seminar on how to manage people in transition. There are no correct answers in this list, but over time I’ve

When he got to the shoe putting-on stage he called Hosain again. Putting on and taking off his own shoes and boots were activities at which he drew the line if there was a man available to perform these services. He had learned to draw the line in Muzzafirabad where his first CO, Colonel Gawstone, advised him never to stoop if he could help it. The climate wasn't right for it. Mrs. Gawstone had stooped to pick up a glove and keeled right over and never got up. They had buried her the next day.

Initially working out of our home in Northern California, with a garage-based lab, I wrote a one page letter introducing myself and what we had and posted it to the CEOs of twenty-two Fortune 500 companies. Within a couple of weeks, we had received seventeen responses, with invitations to meetings and referrals to heads of engineering departments. I met with those CEOs or their deputies and received an enthusiastic response from almost every individual. There was also strong interest from engineers given the task of interfacing with us. However, support from their senior engineering and product development managers was less forthcoming. We learned that many of the big companies we had approached were no longer manufacturers themselves but assemblers of components or were value-added reseller companies, who put their famous names on systems that other original equipment manufacturers (OEMs) had built. That didn't daunt us, though when helpful VPs of engineering at top-of-the-food-chain companies referred us to their suppliers, we found that many had little or no R & D capacity, were unwilling to take a risk on outside ideas, or had no room in their already stripped-down budgets for innovation. Our designs found nowhere to land. It became clear that we needed to build actual products and create an apples-to-apples comparison before we could interest potential manufacturing customers. Where to start? We created a matrix of the product areas that we believed PAX could impact and identified more than five hundred distinct market sectors-with potentially hundreds of thousands of products that we could improve. We had to focus. After analysis that included the size of the addressable market, ease of access, the cost and time it would take to develop working prototypes, the certifications and metrics of the various industries, the need for energy efficiency in the sector, and so on, we prioritized the list to fans, mixers, pumps, and propellers. We began hand-making prototypes as comparisons to existing, leading products. By this time, we were raising working capital from angel investors. It's important to note that this was during the first half of the last decade. The tragedy of September 11, 2001, and ensuing military actions had the world's attention. Clean tech and green tech were just emerging as terms, and energy efficiency was still more of a slogan than a driver for industry. The dot-com boom had busted. We'd researched venture capital firms in the late 1990s and found only seven in the United States investing in mechanical engineering inventions. These tended to be expansion-stage investors that didn't match our phase of development. Still, we were close to the famous Silicon Valley and had a few comical conversations with venture capitalists who said they'd be interested in investing-if we could turn our technology into a website. Instead, every six months or so, we drew up a budget for the following six months. Via a growing network of forward-thinking private investors who could see the looming need for dramatic changes in energy efficiency and the performance results of our prototypes compared to currently marketed products, we funded the next phase of research and business development.

Leadership and Culture” may seem like a vague or general catch-all phrase. Let me offer some questions to guide you down the path and to set the stage for upcoming chapters on this important first piece of the framework. What does it feel like to be part of your company’s sales team? Is it a high-performance culture? Why do you feel that way? Are team members laser-focused on goals and results? What’s the vibe in the sales department (whether it is local or based remotely)? What does accountability look like on this team? How often, how big, and how loud are victories celebrated? Is the manager leading the team or just reacting to circumstances? Are sales team meetings valuable? Do salespeople leave those meetings better equipped, envisioned, and energized, or drained and discouraged? Do members of the sales team feel supported, valued, and appreciated? Does the existing compensation plan make sense and does it drive the desired behaviors and results? In what ways is the manager putting his or her fingerprints on the team? How much of the sales leader’s time is devoted to non-sales activities and executive and administrative burdens? What’s the level of intensity, passion, and heart-engagement of team members? I don’t believe that anyone would doubt that we can create significant lift in a sales organization by improving the answers to these questions.

When a worship team stands on stage facing the audience, when the stage is brightly-lit with multi-colored lighting while the lights in the rest of the auditorium are dimmed, when the worship leader turns first toward one and then another member of the worship team in a carefully choreographed fashion during the singing of a praise chorus, smiling at each in turn, perhaps even winking at them, when musicians of near-professional quality gyrate as they play their guitars, then it becomes nearly inevitable that those in the auditorium will see this as a performance intended to entertain them, no matter how many times they are verbally reminded that all this is supposed to be praise to God.

In a TED talk watched by over a million people, Wolfram (2010) proposes that working on mathematics has four stages: Posing a question Going from the real world to a mathematical model Performing a calculation Going from the model back to the real world, to see if the original question was answered The first stage involves asking a good question of some data or a situation—the first mathematical act that is needed in the workplace.

Undoubtedly, David did give some brilliant performances in London. Among these was his rendition of Rachmaninoff’s Third Piano Concerto in D Minor in July 1969, for which he was awarded the Dannreuther Prize for best performance of a piano concerto at the Royal College of Music for that year. However, the way it is depicted in Shine—as a dramatic scene in which David collapses on stage while playing, causing him to suffer a mental breakdown and then to return directly to Perth—is entirely fictional. Firstly, David had already played the piece in public several times before, for example, in Perth and Melbourne in 1964. Secondly, David did not collapse. Thirdly, he stayed in London for another year after this performance, giving several other concerts, among them Rachmaninoff’s Third Piano Concerto again, on March 24, 1970, at the Duke’s Hall at the Royal Academy of Music in Marylebone Road. Fourthly, the onset of his illness was slow, both predating and postdating this concert, and his condition was almost certainly connected with a history of chronic mental illness in the Helfgott family. And fifthly, he did not blame his “daddy.

1. The conglomerate movement, “with all its fancy rhetoric about synergism and leverage.” 2. Accountants who played footsie with stock-promoting managements by certifying earnings that weren’t earnings at all. 3. “Modern” corporate treasurers who looked upon their company pension funds as new-found profit centers and pressured their investment advisers into speculating with them. 4. Investment advisers who massacred clients’ portfolios because they were trying to make good on the over-promises that they had made to attract the business. 5. The new breed of investment managers who bought and churned the worst collection of new issues and other junk in history, and the underwriters who made fortunes bringing them out. 6. Elements of the financial press which promoted into new investment geniuses a group of neophytes who didn’t even have the first requisite for managing other people’s money—namely, a sense of responsibility. 7. The securities salesmen who peddle the items with the best stories—or the biggest markups—even though such issues were totally unsuited to the customers’ needs. 8. The sanctimonious partners of major investment houses who wrung their hands over all these shameless happenings while they deployed an army of untrained salesmen to forage among even less trained investors. 9. Mutual fund managers who tried to become millionaires overnight by using every gimmick imaginable to manufacture their own paper performance. 10. Portfolio managers who collected bonanza incentives of the “heads I win, tails you lose” kind, which made them fortunes in the bull market but turned the portfolios they managed into disasters in the bear market. 11. Security analysts who forgot about their professional ethics to become storytellers and let their institutions be taken in by a whole parade of confidence men. This was the “list of horrors that people in our field did to set the stage for the greatest blood bath in forty years,

They kept the prophecy hidden. They emphasized the levirate nature of the marriage in order to stress its legal side. It would be hard for the scribes to argue with the Torah, the revealed law of Yahweh. The first order of business was business. Caleb signed a contract, called a ketubbah, with Rahab’s father. This was the transfer of authority from father to husband and was the legal foundation of the marriage. Caleb then paid a dowry to her father of fifty shekels, according to their law. This was the customary money held in faith by the father should a wife’s husband forsake her through divorce or death. The next order of business was for the wife to give an inventory accounting of her assets that would be transferred to her husband’s estate. Since Rahab had left everything behind but her family when Jericho was destroyed, she had nothing. To Caleb that sacrifice was more than he could ever offer her. The next stage in a normal wedding with a virgin was not the celebration, but consummation. The husband and wife would go to the father’s home and consummate their union in the marriage bed. A white cloth would be placed beneath the virgin so that there would be a discharge of blood with her first carnal knowledge of a man. The cloth would then be taken to the celebration feast to prove her virginity and a priest would pronounce a benediction over them. But this was not a normal wedding with a virgin. Because of the shame of this lack of virginity, Rahab requested that they perform the ceremony and celebration before they would leave to consummate. This way, attention would not be drawn to her shame. Caleb graciously agreed.

Sastra Vasana is of three types; obsession with study, preoccupation with many subjects and marked squeamishness with regard to observances specified in the scripture. The Taittiriya Brahmana contains a narrative that can serve to illustrate the first kind of Sastra Vasana. Bharadvaja, the Veda says, seriously applied himself to the study of the Vedas for three successive births. In his fourth life too, he wished to strive unremittingly. Taking pity on him, Indra explained the impossibility of learning all the Vedas and then taught Bharadvaja about Brahman with attributes. While Bharadvaja’s study of the Vedas was not wrong, it was his obsession with mastering all the Vedas that was the problem. To get rid of this type of Sastra Vasana, the aspirant should impress upon himself that it is impossible to know a subject in its totality. Addiction to the study of many subjects is also bad. The story of Durvasa encountered in the Kavaseya Gita is pertinent. Durvasa, it is said, once came to the assembly of Lord Mahadeva to pay his respects. He arrived with a cart- load of books. Narada made fun of him by comparing him to an ass burdened with a great load on its back. Irritated and cured of his obsession, Durvasa dumped his books into the sea. Thereafter, Mahadeva initiated him into the knowledge of the Atma. One should realize that the Supreme cannot be known by being preoccupied with books on a variety of topics. Thus, the Katha Upanisad declares, “This Atma is not attained through much study, through the power of grasping the meaning of the texts or through much mere hearing”. Likewise, in the Chandogya Upanisad, we read that in spite of mastering a wide variety of subjects, Narada was not free from grief as he had not realized the Atma. To attain that sorrow-eradicating knowledge, he approached Sanatkumara as a disciple. It has been said, “What is the point in vainly chewing the filthy rag of talk about sacred treatises? Wise men should, by all means, seek the light of consciousness within”. Sincere practice of scripturally ordained rituals is essential for a person who has not progressed to the stage when he can dispense with rituals. However, undue fastidiousness with respect to religious observances, which characterizes the third type of Sastra Vasana, is an impediment. In the Yoga Vasista, we encounter the story of Dasura which is relevent here. Dasura, on account of his intense fastidiousness was unable to locate a single spot in the whole world adequately pure for him to perform his religious rites. Sri Vidyaranya who has elaborately dealt with the destruction of Vasanas in his Jeevanmukti Viveka, points out that Sastra Vasana leads to pride of learning. This is a reason, in addition to the impossibility of consummating the needs of Sastra Vasana, for the Sastra Vasana being labelled as impure.

Two hours later, the drawing room converted, the costumes wrapped, the electric-kerosene lamps flickering in a semicircle at their feet, the performers enacted the thirty-minute ode to love and the Mediterranean, Home by the Sea. Miss Charming kept a ferocious grip on her script and gave oily air kisses to Colonel Andrews. Amelia was calm and sweet, melting into her dialogue with Captain East as though into his arms. Jane knelt beside Mr. Nobley, the wounded war captain, as he nearly died, and did her best to sound earnest. Old Jane would’ve run away or laughed self-consciously throughout. New Jane decided to feel as enchanting as Miss Charming and performed each line with relish and passion. It didn’t matter that she wasn’t a very good actress. Mr. Nobley’s character miraculously recovered all the same, leading to the part where he stood and took her hands. They were still cold. He paused, as though trying to remember what came next. He looked. Looked at her. At her and into her. Into her eyes as though he couldn’t bear to look away. And there was a delicious curl in his smile. “I love you,” he said. Zing, thought Jane. It was his line, more or less, though simplified. Stripped of similes and farms and rain and moon and all, it pierced her. She opened her mouth to say her own line but couldn’t remember a single word. And she didn’t want to. He leaned. She leaned. Then Aunt Saffronia, who’d been laughing encouragingly during the parts that were supposed to be sad and clapping gleefully whenever a new character came onstage, now cleared her throat as though intensely uncomfortable. Mr. Nobley hesitated, then kissed Jane’s cheek. His lips were warm, his cheek slightly scratchy. She smiled and breathed him in. At length, the six actors stood side by side, pretending the bright yellow wall of the drawing room opened to a view of the Mediterranean Sea, and said their closing lines. Jane: Trying to sound actress-y. “At last, we are all truly happy.” Miss Charming: Pause. Crinkling of paper. Frantic searching for line. “Indeed.” Amelia: With a shy smile for the tall man beside her. “Our travels are ended.” Captain East: With a manly smile for his lady. “We can rest peacefully in each other’s arms.” Colonel Andrews: As always, with panache! “And no matter where we may roam…” Mr. Nobley: A sigh. “This will always be our home.” His voice unhappy with the line. “By the sea.” And, silence as the audience waited for who knows what--a better ending line? A better play? Colonel Andrews cleared his throat, and Jane inclined her head in a hurried curtsy. “Oh,” Aunt Saffronia said and started the applause. The audience clapped enthusiastically and arhythmically, and the cast bowed, Miss Charming giggling. Jane squinted past the lamps to get her first good look at the audience, now that the play was over and stage fright couldn’t prickle her. Aunt Saffronia, beaming. Mrs. Wattlesbrook, looking for all the world like a proud schoolmarm. Matilda, bored, and a few other servants, equally bored.

Study the Opposites In addition to studying his competition in tech and early-stage investing, Marc studies value investors on the completely opposite side of the spectrum, such as Warren Buffett and Seth Klarman. This doesn’t mean they invest in the same types of companies; rather, the synergy is related to first principles.

Speaking on Stage Speakers and presenters have only a few short seconds before their audience members begin forming opinions. True professionals know that beginning with impact determines audience engagement, the energy in the room, positive feedback, the quality of the experience, and whether or not their performance will be a success. A few of the popular methods which you can use to break the ice from the stage are: • Using music. • Using quotes. • Telling a joke. • Citing statistics. • Showing a video. • Asking questions. • Stating a problem. • Sharing acronyms. • Sharing a personal story. • Laying down a challenge. • Using analogies and comparisons. • Taking surveys; raise your hand if . . . Once you refine, define, and discover great conversation starters, you will enjoy renewed confidence for communicating well with new people.

he argued that the Europeans of the 1800s struggled to understand divine energy in two ways, first through theatrical acts where mesmerists and hypnotists amazed audiences with illusions and parlor tricks. When the audiences confronted inexplicable illusions, the performers on stage suggested that mysterious forces were at work.

Contemplation and meditation are learning processes, much like learning to drive a car. Most student drivers feel completely overwhelmed the first time they attempt to drive, because they must (1) steer to keep the car on the road, (2) adjust the speed with the accelerator, (3) adjust the geer ratio with the shift, according to the speed, and (4) constantly keep vigilant about doing each of these tasks well. Once learned, or indeed overlearned, driving becomes second nature. Little awareness is needed to perform all of the requisite driving skills quickly and effortlessly. Learning to meditate is very similar, in that it requires four similar skills—directing, intensifying, pliancy, and intelligence.

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

In the early '90s a beautiful young Russian soprano who loved music was studying opera at the St. Petersburg Conservatory. She told us how despite her single-minded focus on developing her voice, her teachers thought that perhaps, at best, one day she could sing in a chorus somewhere. But the soprano wasn't going to let her teachers' low opinion of her stop her from achieving her goal. While becoming a part-time janitor may not seem like a brilliant career move for an aspiring opera star, she took a job mopping floors at St. Petersburg's Kirov Opera, the greatest opera company in Russia. Still working hard in the conservatory, she earned the chance to audition for the Kirov and was accepted into the ensemble. During rehearsals, when the lead singer became ill, the stage director asked the soprano if she knew the part. "Of course I knew it", she told us. "I knew all the parts. I was ready." She had worked hard; she had worked smart by putting herself in the right place at the right time. And she performed well. Her once-skeptical teachers never could have imagined the career that the soprano, Anna Netrebko, would go on to have, becoming an operatic superstar and the reigning diva of the twenty-first century.

Musical Event Management Service– Make the right & sensible choice Music is essential to keep the spirit up in the day to day activities. It is known to elevate positive feelings and makes you a cheerful person. There is no one on this earth, who will not agree that listening to soulful songs is a great therapy to kick out stress. Not only this, it has become a great source of entertainment in modern day lifestyle. It keeps everyone upbeat and definitely lightens up everyone’s mood. With these benefits, there has been a massive rise in the demand of musical event management service. So, if you are someone who is planning to host such an event, it makes sense to take a right call by consulting the company SPRING OF RHYTHM. Well, this can be achieved by opting for a trustworthy event management firm like SPRING OF RHYTHM. Only consider the best, which can guarantee of top-notch musical event management solutions. In the market, you might come across to hundreds of companies, but never get fooled by their big promises. Sit down and perform extensive research to opt only the prominent one for your peace of mind. In case you compromise on this point, it can prove to be a costly affair. Of all, the event can turn out to be a major disappointment and this can harm your reputation in the society. This is why there is a need to be smart in the decision-making process. Firstly, one should get complete information about the musical event management service provider. Check their reputation in the industry and for how they have been performing. Give your vote of confidence to only the most experienced and the best one. With years of experience in their kitty, it can do wonders in the quality of service. Secondly, get an insight on the team members and their hands-on experience. Only a good team with superlative members can assure of exceptional service. Thirdly, check the industry connections of the firm and this is vital in terms of costing. This will prove to be decisive in a smooth event within the desired budget. Based on their industry connections, it helps to meet the requirements in a cost-effective way and without compromising on your end goals. A reputed musical event management service provider will assess the main objective of the occasion in a proficient manner. They can offer the customize service as per the necessities of the client in a clinical manner. SPRING OF RHYTHM possesses the much-needed expertise in organizing the best musical event. With the best pool of music artists, it gives the liberty to make the choice according to the budget and occasion. You certainly end up saving time by knowing which artist will be available for a particular day and what will be the charge. This can bring about a lot of clarity and make the decision-making process less stressful. Make the right decision to add the right enthusiasm to the event and make it unbelievable for everyone. SPRING OF RHYTHM is assuring you with the successful and entertaining event will give an immense satisfaction.

Your best estimates for the future will not match up to the actual numbers for several reasons. First, even if your information sources are impeccable, you must convert raw information into forecasts, and any mistakes that you make at this stage will cause estimation error. Next, the path that you envision for a firm can prove to be hopelessly off. The firm may do much better or much worse than you expected it to perform, and the resulting earnings and cash flows will be different from your estimates; consider this firm-specific uncertainty. When valuing Cisco in 2001, for instance, we seriously underestimated how difficult it would be for the company to maintain its acquisition-driven growth in the future, and we overvalued the company as a consequence. Finally, even if a firm evolves exactly the way you expected it to, the macroeconomic environment can change in unpredictable ways. Interest rates can go up or down, and the economy can do much better or worse than expected. Our valuation of Marriott from November 2019 looks hopelessly optimistic, in hindsight, because we did not foresee the global pandemic in 2020 and the economic consequences for the hospitality business.

Usually, because she became too tired during the first stages of the activity and too sore the next day, she quickly gave up.

Mick had become uncertain, had started second-guessing his own talent—that seemed, ironically, to be at the root of the self-inflation. For many years through the ’60s, Mick was incredibly charming and humorous. He was natural. It was electrifying the way he could work those small spaces, as a singer and as a dancer; fascinating to watch and work with—the spins, the moves. He never thought about it. That performance was exciting without him appearing to do anything. And he’s still good, even though to my mind it’s dissipated on the big stages. That’s what people have wanted to see: spectacle. But it’s not necessarily what he’s best at. Somewhere, though, he got unnatural. He forgot how good he was in that small spot. He forgot his natural rhythm. I know he disagrees with me. What somebody else was doing was far more interesting to him than what he was doing. He even began to act as if he wanted to be someone else. Mick is quite competitive, and he started to get competitive about other bands. He watched what David Bowie was doing and wanted to do it. Bowie was a major, major attraction. Somebody had taken Mick on in the costume and bizarreness department. But the fact is, Mick could deliver ten times more than Bowie in just a T-shirt and a pair of jeans, singing “I’m a Man.” Why would you want to be anything else if you’re Mick Jagger? Is being the greatest entertainer in show business not enough? He forgot that it was he who was new, who created and set the trends in the first place, for years. It’s fascinating. I can’t figure it out. It’s almost as if Mick was aspiring to be Mick Jagger, chasing his own phantom. And getting design consultants to help him do it. No one taught him to dance, until he took dance lessons. Charlie and Ronnie and I quite often chuckle when we see Mick out there doing a move that we know some dance instructor just laid on him, instead of being himself. We know the minute he’s going plastic. Shit, Charlie and I have been watching that ass for forty-odd years; we know when the moneymaker’s shaking and when it’s being told what to do. Mick’s taken up singing lessons, but that may be to preserve his voice.

habits often appear to make no difference until you cross a critical threshold and unlock a new level of performance. In the early and middle stages of any quest, there is often a Valley of Disappointment. You expect to make progress in a linear fashion and it’s frustrating how ineffective changes can seem during the first days, weeks, and even months. It doesn’t feel like you are going anywhere. It’s a hallmark of any compounding process: the most powerful outcomes are delayed.

Developing innovative performance strategies involves two different activities. First, scanning both the team’s external environment and the state of its internal resources for emerging problems and opportunities. Second, generating and assessing a variety of ways the team might circumvent the problems and exploit the opportunities, eventually choosing the one that seems to team members especially suitable.

During the first part of this stage, the encouragement and support of parents and teachers was crucial to the child’s progress, but eventually the students began to experience some of the rewards of their hard work and became increasingly self-motivated. A piano student performed for others and appreciated the applause. A swimmer basked in the approval and respect of peers. These students became more vested in the process, and their self-image started to include those abilities that were setting them apart from their peers. In the case of team sports, like swimming, the students often relished being part of a group of like-minded people. But whatever the reasons, the motivation started to shift from external to internal in origin.

Read this simple analogy and see if an alternative to the judging process doesn’t begin to emerge. When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as “rootless and stemless.” We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don’t condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is. Similarly, the errors we make can be seen as an important part of the developing process. In its process of developing, our tennis game gains a great deal from errors. Even slumps are part of the process. They are not “bad” events, but they seem to endure endlessly as long as we call them bad and identify with them. Like a good gardener who knows when the soil needs alkali and when acid, the competent tennis pro should be able to help the development of your game.

We take the original plays of William Shakespeare and Christopher Marlowe, and Markus gives them . . . well, the necessary polish.” “Aren’t the plays good enough by themselves?” Barbara asked. “Well, for the general public they’re sometimes just too difficult and dry, so we cut out the long monologues and concentrate on the funny parts and, above all, the bloody passages. Many of the pieces have not yet been translated into German, and Markus takes care of that, as well.” “I butcher Shakespeare’s plays by turning them into bloody spectacles for the masses,” Markus sighed in despair. “Carefully constructed pentameter, beautiful images—for that the world clearly has no taste nowadays. The more blood, the better. But I myself have written original pieces that—” “Yes, yes,” Malcolm interrupted, “that would be enough to make Shakespeare cry, I know—or simply put him to sleep. I’m afraid you’re boring the ladies, Markus. Just like your plays. We can’t afford experiments. After all, I have a whole troupe to feed,” he said, clapping his hands. “But now it’s time to get back to building the stage. Will you excuse us?” He bowed to Magdalena and Barbara and stomped off toward the stage, but not without first casting a final, reproachful look at his two actors. “Old slave driver,” Markus mumbled and followed him, while Matheo paused a moment and winked at Barbara. “Then can we look forward to seeing you again at tomorrow’s performance? We’ll save a few seats for you up in the gallery. Ciao, signorine.” “Ciao,” Barbara said, batting her eyelashes as Matheo, in one single, flowing movement, jumped back onto the stage. Magdalena grinned at her sister. “Ciao?” she asked. “Is that the way a Schongau hangman’s daughter says good-bye, or are you an Italian contessa addressing her prince just before their wedding?

People are unlikely to take steps toward solving a problem if they don't believe that it concerns them. But assuming there is knowledge of the Condition as well as sufficient Concern, the next question becomes: What do I do to fix it? This is the sage that most individuals and leaders want to jump to *first*, rather than last - - which would be a mistake. It is akin to a doctor prescribing medicine for symptoms (e.g. headache) without performing an examination to better understand the patients' underlying condition and whether the patient will comply with prescribed regimen. If the headache is caused by severe dehydration, for example, and the patient is given ibuprofen to get rid of the headache without any plan for rehydration, then the headache will recur - - not to mention the likelihood of more serious medical problems. In many ways, Strategy is the "easiest" of the five stages.

positive impact on my recovery. (It also helps you sleep if used before bed.) Warning: Start slow. I tried to copy Amelia and did 20-plus minutes my first session. The next day, I felt like I’d been put in a sleeping bag and swung against a tree for a few hours. Rolling your foot on top of a golf ball on the floor to increase “hamstring” flexibility. This is infinitely more helpful than a lacrosse ball. Put a towel on the floor underneath the golf ball, lest you shoot your dog’s eye out. Concept2 SkiErg for training when your lower body is injured. After knee surgery, Amelia used this low-impact machine to maintain cardiovascular endurance and prepare for the 2014 World’s Toughest Mudder, which she won 8 weeks post-op. Kelly Starrett (page 122) is also a big fan of this device. Dry needling: I’d never heard of this before meeting Amelia. “[In acupuncture] the goal is not to feel the needle. In dry-needling, you are sticking the needle in the muscle belly and trying to get it to twitch, and the twitch is the release.” It’s used for super-tight, over-contracted muscles, and the needles are not left in. Unless you’re a masochist, don’t have this done on your calves. Sauna for endurance: Amelia has found using a sauna improves her endurance, a concept that has since been confirmed by several other athletes, including cyclist David Zabriskie, seven-time U.S. National Time Trial Championship winner. He considers sauna training a more practical replacement for high-altitude simulation tents. In the 2005 Tour de France, Dave won the Stage 1 time trial, making him the first American to win stages in all three Grand Tours. Zabriskie beat Lance Armstrong by seconds, clocking an average speed of 54.676 kilometers per hour (!). I now use a sauna at least four times per week. To figure out the best protocols, I asked another podcast guest, Rhonda Patrick. Her response is on page 7. * Who do you think of when you hear the word “successful”?

on a seagull poo–like texture when mixed into cold water. Amelia saved my palate and joints by introducing me to the Great Lakes hydrolyzed version (green label), which blends easily and smoothly. Add a tablespoon of beet root powder like BeetElite to stave off any cow-hoof flavor, and it’s a whole new game. Amelia uses BeetElite pre-race and pre-training for its endurance benefits, but I’m much harder-core: I use it to make tart, low-carb gummy bears when fat Tim has carb cravings. RumbleRoller: Think foam roller meets monster-truck tire. Foam rollers have historically done very little for me, but this torture device had an immediate positive impact on my recovery. (It also helps you sleep if used before bed.) Warning: Start slow. I tried to copy Amelia and did 20-plus minutes my first session. The next day, I felt like I’d been put in a sleeping bag and swung against a tree for a few hours. Rolling your foot on top of a golf ball on the floor to increase “hamstring” flexibility. This is infinitely more helpful than a lacrosse ball. Put a towel on the floor underneath the golf ball, lest you shoot your dog’s eye out. Concept2 SkiErg for training when your lower body is injured. After knee surgery, Amelia used this low-impact machine to maintain cardiovascular endurance and prepare for the 2014 World’s Toughest Mudder, which she won 8 weeks post-op. Kelly Starrett (page 122) is also a big fan of this device. Dry needling: I’d never heard of this before meeting Amelia. “[In acupuncture] the goal is not to feel the needle. In dry-needling, you are sticking the needle in the muscle belly and trying to get it to twitch, and the twitch is the release.” It’s used for super-tight, over-contracted muscles, and the needles are not left in. Unless you’re a masochist, don’t have this done on your calves. Sauna for endurance: Amelia has found using a sauna improves her endurance, a concept that has since been confirmed by several other athletes, including cyclist David Zabriskie, seven-time U.S. National Time Trial Championship winner. He considers sauna training a more practical replacement for high-altitude simulation tents. In the 2005 Tour de France, Dave won the Stage 1 time trial, making him the first American to win stages in all three Grand Tours. Zabriskie beat Lance Armstrong by seconds, clocking an average speed of 54.676 kilometers per hour (!). I now use a sauna at least four times per week. To figure out the best protocols, I asked

But after 1660, the plays didn’t go to the monarch at court; instead, the monarch went to the plays. Charles II visited the theaters almost daily when he was in London, bringing along his entourage of courtiers. The new theaters—converted at first from old tennis courts—were small, with limited seating and high ticket prices, and so theatergoing became an increasingly aristocratic pastime. The king proposed ideas to the playwrights. He slept with the actresses. Having seen women perform onstage in France, he sanctioned their appearance on England’s public stages.

tips about performing on stage. “It’s all about drawing the audience in with you,” he says, prowling the class like it’s his own sold-out stadium. “You’re selling them something. Selling them a dream. And it’s your job to believe that dream first.

Crazy for You opens backstage at the Zangler Theatre, New York, where Bobby, desperate to break into showbusiness, performs an impromptu audition for the great impresario Bella Zangler. This is not a ‘book number’ – that’s to say, the music is not an expression of character or plot point arising from the dialogue, the defining convention of musical theatre. Instead, more prosaically, it’s a real number, a ‘prop number’: Bobby is backstage and doing the song for Zangler. So it’s sparely orchestrated – little more than a rehearsal piano and some support; it’s one chorus; and its tap-break ends with Bobby stamping on Zangler’s foot. This is grim reality: Bobby is expelled from the theatre. Outside, he makes a decision, and sings ‘I Can’t Be Bothered Now’ – the second song, but the real opening number: the first ‘book number’ in the show. There is an automobile onstage (it’s the 1930s) and, as Bobby opens the door, one showgirl, pretty in pink, steps out, then another, and another, and more and more, far more than could fit in any motor car; finally, Bobby raises the hood of the vehicle and the last chorine emerges. The audience leans back, reassured and content: Susan Stroman’s fizzy, inventive choreography has told them that what’s about to follow is romantic fantasy. More to the point, it’s true to the character of the song, and the choice of song is true to Bobby’s character and the engine of the drama: My bonds and shares May fall downstairs Who cares? Who cares? I’m dancing and I Can’t Be Bothered Now … This lyric captures the philosophy of Ira Gershwin’s entire oeuvre – which is important: the show is a celebration of Gershwin. But it’s also an exact expression of Bobby’s feelings and the reason why he heads to Dead Rock, Arkansas. So the number does everything it should: it defines the principal’s motivation; it kick-starts the plot; and it communicates the spirit of the score and the staging. Audiences don’t reason it out like that; we just eat it up. But that’s why.