Gas Pedal Quotes

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It was like being in a car with the gas pedal slammed down to the floor and nothing to do but hold on and pretend to have some semblance of control. But control was something I'd lost a long time ago.
Nic Sheff
Then she tried to bore herself to sleep by thinking about things like yogurt and the structure of a gas pedal.
Jessica Park (Flat-Out Love (Flat-Out Love, #1))
Life ain’t about coasting. It’s about pushin’ the damn gas pedal all the way to the floor. Same goes for fun and love, no coasting. Pedal to the floor.
Kim Holden (Gus (Bright Side, #2))
My life motto: My brakes are broke, but luckily my gas pedal works just fine.

Jarod Kintz (This Book Has No Title)
That’s the secret. You find what you love and you go for it. Life ain’t about coasting. It’s about pushin’ the damn gas pedal all the way to the floor. Same goes for fun and love, no coasting. Pedal to the floor.
Kim Holden (Gus (Bright Side, #2))
Anyone lucky enough to have options should keep them open. Don't enter the workforce already looking for the exit. Don't put on the breaks. Accelerate. Keep a foot on the gas pedal until a decision must be made. That's the only way to ensure that when that day comes, there will be a real decision to make.
Sheryl Sandberg (Lean In: Women, Work, and the Will to Lead)
It was true love, Ted. I looked over, saw this guy, and I totally lost my mind. I know he's loud and in-your-face, but whenever I look at him I feel a little weak-kneed. And when I drive him - forget about it. He's fast and wild and a little unruly, and I can feel his throaty rumbles all through my body when I bury that gas pedal. That beast has forever ruined me for all other vehicles.
Lynn Painter (Better than the Movies (Better than the Movies, #1))
right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness. Breathing through the right nostril will also feed more blood to the opposite hemisphere of the brain, specifically to the prefrontal cortex, which has been associated with logical decisions, language, and computing. Inhaling through the left nostril has the opposite effect: it works as a kind of brake system to the right nostril’s accelerator. The left nostril is more deeply connected to the parasympathetic nervous system, the rest-and-relax side that lowers blood pressure, cools the body, and reduces anxiety. Left-nostril breathing shifts blood flow to the opposite side of the prefrontal cortex, to the area that influences creative thought and plays a role in the formation of mental abstractions and the production of negative emotions.
James Nestor (Breath: The New Science of a Lost Art)
There is a time lag between the activation of brain systems that excite our emotions and impulses and the maturation of brain systems that allow us to check these feelings and urgings—it’s like driving a car with a sensitive gas pedal and bad brakes.
Laurence Steinberg (Age Of Opportunity: Lessons from the New Science of Adolescence)
I wired my gas pedal to my stereo, so now when I crank up the volume the car accelerates.
Jarod Kintz (A Zebra is the Piano of the Animal Kingdom)
Either peace or happiness, let it enfold you. When I was a young man I felt these things were dumb, unsophisticated. I had bad blood, a twisted mind, a precarious upbringing. I was hard as granite, I leered at the sun. I trusted no man and especially no woman... I challenged everything, was continually being evicted, jailed, in and out of fights, in and out of my mind... Peace and happiness to me were signs of inferiority, tenants of the weak, an addled mind. But as I went on...it gradually began to occur to me that I wasn't different from the others, I was the same... Everybody was nudging, inching, cheating for some insignificant advantage, the lie was the weapon and the plot was empty... Cautiously, I allowed myself to feel good at times. I found moments of peace in cheap rooms just staring at the knobs of some dresser or listening to the rain in the dark. The less I needed the better I felt... I re-formulated. I don't know when, date, time, all that but the change occured. Something in me relaxed, smoothed out. I no longer had to prove that I was a man, I didn’t have to prove anything. I began to see things: coffee cups lined up behind a counter in a cafe. Or a dog walking along a sidewalk. Or the way the mouse on my dresser top stopped there with its body, its ears, its nose, it was fixed, a bit of life caught within itself and its eyes looked at me and they were beautiful. Then...it was gone. I began to feel good, I began to feel good in the worst situations and there were plenty of those... I welcomed shots of peace, tattered shards of happiness... And finally I discovered real feelings of others, unheralded, like lately, like this morning, as I was leaving for the track, I saw my wife in bed, just the shape of her head there...so still, I ached for her life, just being there under the covers. I kissed her in the forehead, got down the stairway, got outside, got into my marvelous car, fixed the seatbelt, backed out the drive. Feeling warm to the fingertips, down to my foot on the gas pedal, I entered the world once more, drove down the hill past the houses full and empty of people, I saw the mailman, honked, he waved back at me.
Charles Bukowski
Because of the size of this body, I must concentrate much harder than I usually do. Even the small things -- my foot on the gas pedal, the amount of space I have to leave around me in the halls -- require major adjustment. And there are the looks I get -- such undisguised disgust. Not just from other students. From teachers. From strangers. The judgment flows freely. It's possible that they're reacting to the thing that Finn has allowed himself to become. But there's also something more primal, something more defensive in their disgust. I am what they fear becoming. I've worn black today, because I've heard so often that it's supposed to be slimming. But instead I am this sphere of darkness submarining through the halls.
David Levithan (Every Day (Every Day, #1))
Without sleep, however, the strong coupling between these two brain regions is lost. We cannot rein in our atavistic impulses—too much emotional gas pedal (amygdala) and not enough regulatory brake (prefrontal cortex).
Matthew Walker (Why We Sleep: Unlocking the Power of Sleep and Dreams)
The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness. Breathing through the right nostril will also feed more blood to the opposite hemisphere of the brain, specifically to the prefrontal cortex, which has been associated with logical decisions, language, and computing. Inhaling through the left nostril has the opposite effect: it works as a kind of brake system to the right nostril’s accelerator. The left nostril is more deeply connected to the parasympathetic nervous system, the rest-and-relax side that lowers blood pressure, cools the body, and reduces anxiety. Left-nostril breathing shifts blood flow to the opposite side of the prefrontal cortex, to the area that influences creative thought and plays a role in the formation of mental abstractions and the production of negative emotions.
James Nestor (Breath: The New Science of a Lost Art)
Reason is the steering wheel. Emotion is the gas pedal.
Anonymous
Metaphorically, if the enterprise is a vehicle, Enterprise Performance Management is like the gas pedal with speed scoreboard.
Pearl Zhu (Performance Master: Take a Holistic Approach to Unlock Digital Performance)
Here, you drive," Erik said. "What? Why?" "In case we do have to start shooting; I have a badge and you don't," he explained. "Fine. But for the record, I'm a better shot than you are." "For your information, I was the youngest kid awarded the rifle shooting merit badge in my troop," Erik said, holding the wheel as she climbed across him. "Is that supposed to impress me?" "Just enough to get you back into my bed." She took over the gas pedal and Erik slid out from underneath her. "It takes more than fancy shooting," she said loftily, making a sharp turn. Erik was thrown against the door. "Would you warn me before you do that?" "It's a car chase!
Tiffany Snow (Blank Slate)
There's a fleeting moment that exists for every individual just before they do something truly life-altering. Its that flash of insight and sanity that stalls your heartbeat and bloo flow - a quick warning - just before you explode and make a fool of yourself. Or that incredible brief instant of clarity you have before you floor the gas pedal and run the red light. It's a split second of self admonishment in which you realise that what you're about to do is wrong, but just as quickly choose to ignore that realisation and do it anyway. It's too fast to catch, too bright to see, utterly gone even before you've blinked and therefore, it does a person absolutely no good at all. And yet, there it is.
Heather Killough-Walden (The Hunt (The Big Bad Wolf, #4))
I distracted Herbert by pretending to trip and break a bone. Ethan darted around to the red golf cart with a cocky smile on his face. He put the key in ignition, and the vehicle roared to life. “Hey,” Herbert shouted, snapping his attention to Ethan. I sprang up and ran up to Ethan. He pulled me in the cart and stomped on the gas pedal. We shot through the automatic doors with Herbert on our tail. “Go faster!” I cheered. My brother smacked the steering wheel. “I can’t; it’s a golf cart.
Erica Sehyun Song (The Pax Valley)
Gray threw open the door, swiftly followed by her legs and everything that went with them. She high-kicked the door shut and glared at Raj. In response he snatched up his keys, shoved them into the ignition, and floored the gas pedal. The vehicle roared. Gray
Nikki Jefford (Entangled (Spellbound, #1))
Sex and death are the gas pedals and brakes of tribal growth. (Gay sex and abortion, for example, are both alternatives to reproduction.) What’s less clear is why different tribes hold different views about sex, life, and death, and why some tribes are more willing than others to impose their views on outsiders.
Joshua Greene (Moral Tribes: Emotion, Reason, and the Gap Between Us and Them)
Minutes later I am discovering what it’s like to be driven by a woman who thinks the world will end if she doesn’t keep the gas pedal firmly against the floor and that apparently there’s no such thing as the “Oh My Fuck God” handle bar for me to hang onto in an early-eighties Caddy that’s the color of shit. Mrs.
T.J. Klune (Bear, Otter, and the Kid (Bear, Otter, and the Kid, #1))
The tribal differences that erupt into public controversy typically concern sex (e.g., gay marriage, gays in the military, the sex lives of public officials) and death at the margins of life (e.g., abortion, physician-assisted suicide, the use of embryonic stem cells in research). That such issues are moral issues is surely not arbitrary. Sex and death are the gas pedals and brakes of tribal growth. (Gay sex and abortion, for example, are both alternatives to reproduction.)
Joshua Greene (Moral Tribes: Emotion, Reason, and the Gap Between Us and Them)
So many times I looked at Wellhouse Turn and thought it might be nice to fly. And here it was, right when I needed it. An hour ago, when I stopped, I thought it would be an easy decision to drop my foot on the gas pedal and hold the steering wheel straight. But just thinking about it—the speed, the rush, the drop—no, that’s not easy at all. Anyone who thinks that’s an easy way out hasn’t had to face it. It’ll be okay, I tell myself, then let out a hysterical laugh. I’m thinking about killing myself. Of course it won’t be okay.
Francesca Zappia (Eliza and Her Monsters)
With that in mind, I pull the door shut and look for a seat belt to buckle. I find only the frayed end of a seat belt and a broken buckle. “Where did you find this piece of junk?” says Christina. “I stole it from the factionless. They fix them up. It wasn’t easy to get it to start. Better ditch those jackets, girls.” I ball up our jackets and toss them out the half-open window. Marcus shifts the truck into drive, and it groans. I half expect it to stay still when he presses the gas pedal, but it moves. From what I remember, it takes about an hour to drive from the Abnegation sector to Amity headquarters, and the trip requires a skilled driver. Marcus pulls onto one of the main thoroughfares and pushes his foot into the gas pedal. We lurch forward, narrowly avoiding a gaping hole in the road. I grab the dashboard to steady myself. “Relax, Beatrice,” says Marcus. “I’ve driven a car before.” “I’ve done a lot of things before, but that doesn’t mean I’m any good at them!” Marcus smiles and jerks the truck to the left so that we don’t hit a fallen stoplight. Christina whoops as we bump over another piece of debris, like she’s having the time of her life. “A different kind of stupid, right?” she says, her voice loud enough to be heard over the rush of wind through the cab. I clutch the seat beneath me and try not to think of what I ate for dinner.
Veronica Roth (Insurgent (Divergent, #2))
...but now, though, because I have still not gotten there, I feel as if distance- as if distance itself-has developed a density, a viscosity, and that I am pushing against it, that I am fighting distance's density; so I press the pedal, and the car surges, and I attempt to push to the terminus of distance, and when this does not happen and I am still not there I feel as if the tenacity of time will smother me- that I will be smothered by the atrocity of distance, by the painful failure of simultaneity; and I struggle to keep the gas pedal within civilized limits, and I go astride cars and around cars, and I am doused in the unthought thought: Please let me get to him quickly;
Evan Dara (The Lost Scrapbook)
The right… never mind. Take off a flip-flop.” “Why?” “Don’t ask questions. Just take one off.” “Which one?” “I don’t care.” Morgan did. “Now what?” I checked to see which one he’d taken off. “Okay, your bare foot is responsible for that pedal.” I pointed to the gas. “Your flip-flop is responsible for the other one.” Morgan grinned. “You’re getting good at this, Grant. I’m impressed.” “Don’t push your luck.” I tapped his right knee. “Bare foot makes the truck move. Flip-flop makes it stop. Just make sure you don’t push the pedals at the same time.” “Why?” “Because.” “Because why?” I made a face. “You ask too many questions.” “You don’t know, do you?” “Yes, I do. You can’t go with the brake on; it just revs the engine and wastes gas. Satisfied?” “Yup.
Adrienne Wilder (In the Absence of Light (Morgan & Grant, #1))
LEAP. It’s as simple as four steps, one for each letter of the acronym: Lean into the change with expectancy. When you notice that a change is desirable or necessary, that’s your green light. Punch the gas pedal. That inkling is all you need to get going. Engage with the concept until you achieve clarity. Don’t let the feeling pass. Work with it until you’ve got a sense of what to do. That nagging thought in the back of your mind might be the start of a whole new adventure—or the ladder you need to climb out of a deep rut. Activate and do something—anything. Sometimes we wait to move until we have all the information. That’s a mistake. Clarity comes in degrees. And you only need enough light for the next step. Even if you get off on the wrong foot, the rest of the journey will become clearer as you go. Pounce and do it now. Once you’ve determined your next step, take it. Don’t wait. Waiting feels safe, but waiting kills dreams.
Michael Hyatt (Your Best Year Ever: A 5-Step Plan for Achieving Your Most Important Goals)
He stared down at her for a moment, wanting to heal every cut on her soft skin. But he couldn’t, not yet. He needed to get her, and her car, far from this place so neither he nor Kate would be implicated in any way with the gruesome murder site. It also meant he would have to drive. In all his years, he had never driven an automobile. The closest he had come was watching various assistants through the years as they chauffeured him. He wasn’t sure he could even remember how to start the car, but right now he had no choice. Grudgingly, he got into the driver’s seat, and finding the lever underneath, he pushed it back so he sat comfortably behind the wheel. After trying three different keys, he found one that slipped into the ignition. From what he had seen over the past hundred years, driving was not a complex operation, and he was an immortal with reflexes far more keen than a human man. How difficult could it be? He turned the key and nearly jerked the wheel off the steering column when the car surprised him by lurching forward. The car went silent. The engine wasn’t running. What was he doing wrong? He stared at the gearshift, wondering if he should move it. His frustration reared up, but his agitation would not make the car drive itself. He had to keep a cool head. Not knowing what else to try, he pushed one of the pedals at his feet to the floor and turned the key again. This time the car didn’t move, and it roared to life. Grasping the gearshift, he jammed it into the first position and glanced over at Kate. Why couldn’t she have owned a car with an automatic transmission? Shaking his head, he put some pressure on the gas pedal and slowly released the clutch. Thankfully the car rolled a few feet, but without warning it jumped forward. He pressed the clutch back to the floor before the engine lost power again. Calisto slammed his hand against the wheel, muttering under his breath in Spanish. At this rate it would take him all night to drive her home. The faded yellow convertible pitched forward again, threatening to stall as he continued out of the parking lot, thankful it was late. The streets were fairly empty. At least he wouldn’t get into an accident with another car. Her car staggered ahead, lurching each time he tried to release the clutch, bouncing and jostling them both until Kate finally stirred and woke up. § “Are we out of gas or something?” Calisto watched her with a tight smile. “Not exactly.” Kate winced in pain when she laughed. “You can’t drive a stickshift, can you?” “Does it show?” Calisto pulled over, finally allowing the engine to stall. She nodded her head slowly to avoid more pain. “Just a little. What happened?” “You don’t remember?” “I remember being mugged. And I remember seeing you, but everything after that is blank.” She watched his eyes as Calisto reached over to brush her hair back from her face, and his touch sent shivers through her body. This wasn’t how she had hoped she would run into him, but she learned a long time ago fate didn’t always work out the way you expected.
Lisa Kessler (Night Walker (Night, #1))
With just a tap on the gas, the car flew off of the road and skidded sideways into the encompassing woods. And I felt the sudden impact as the tires scraped against mounds of dirt, buried roots and jagged stones. The blood-red moon lightly broke through the scattered leaves above us as we bounced among the hidden marshes that could have stretched for miles. But I had no recollection of time because everything, the sounds and the surrounding scenery swept by so quickly. Gripping the steering wheel, his feet on the pedals, spine arched, and my hair whipping my face in the wind from the freshly broken glass on my passenger-side-window I couldn’t help but smile with the childish pleasure of being hurtled through the air as if we were on a rollercoaster built for two.
Trisha North (FLAME: Chronicles of a Teenage Caster)
He kept winding through Boston traffic. It was easy to tell that the car was Declan’s, because it was clearly still on his side. It kept trying to surprise Matthew so it could run back to its master. It lunged at green lights, hopped over curbs, shuddered to an uneasy, panting stop in difficult intersections. Matthew was quite certain it shifted round the gas and brake pedal at a few points. It certainly played hanky-panky with the gearshift, in his opinion, at one point coasting in neutral into the middle of an intersection and then screaming loudly at all the other vehicles that tried to approach it. It did not seem to like bicycles. It was always plunging at them with a barely heard growl, then rearing back when they gave it the finger. Matthew was sweating a little.
Maggie Stiefvater (Greywaren (Dreamer Trilogy, #3))
When it passes us, the driver tips his cap our way, eying us as if he thinks we're up to no good-the kind of no good he might call the cops on. I wave to him and smile, wondering if I look as guilty as I feel. Better make this the quickest lesson in driving history. It's not like she needs to pass the state exam. If she can keep the car straight for ten seconds in a row, I've upheld my end of the deal. I turn off the ignition and look at her. "So, how are you and Toraf doing?" She cocks her head at me. "What does that have to do with driving?" Aside from delaying it? "Nothing," I say, shrugging. "Just wondering." She pulls down the visor and flips open the mirror. Using her index finger, she unsmudges the mascara Rachel put on her. "Not that it's your business, but we're fine. We were always fine." "He didn't seem to think so." She shoots me a look. "He can be oversensitive sometimes. I explained that to him." Oversensitive? No way. She's not getting off that easy. "He's a good kisser," I tell her, bracing myself. She turns in her seat, eyes narrowed to slits. "You might as well forget about that kiss, Emma. He's mine, and if you put your nasty Half-Breed lips on him again-" "Now who's being oversensitive?" I say, grinning. She does love him. "Switch places with me," she snarls. But I'm too happy for Toraf to return the animosity. Once she's in the driver's seat, her attitude changes. She bounces up and down like she's mattress shopping, getting so much air that she'd puncture the top if I hadn't put it down already. She reaches for the keys in the ignition. I grab her hand. "Nope. Buckle up first." It's almost cliché for her to roll her eyes now, but she does. When she's finished dramatizing the act of buckling her seat belt-complete with tugging on it to make sure it won't unclick-she turns to me in pouty expectation. I nod. She wrenches the key and the engine fires up. The distant look in her eyes makes me nervous. Or maybe it's the guilt swirling around in my stomach. Galen might not like this car, but it still feels like sacrilege to put the fate of a BMW in Rayna's novice hands. As she grips the gear stick so hard her knuckles turn white, I thank God this is an automatic. "D is for drive, right?" she says. "Yes. The right pedal is to go. The left pedal is to stop. You have to step on the left one to change into drive." "I know. I saw you do it." She mashes down on the brake, then throws us into drive. But we don't move. "Okay, now you'll want to step on the right pedal, which is the gas-" The tires start spinning-and so do we. Rayna stares at me wide-eyed and mouth ajar, which isn't a good thing since her hands are on the wheel. It occurs to me that she's screaming, but I can't hear her over my own screeching. The dust wall we've created whirls around us, blocking our view of the trees and the road and life as we knew it. "Take your foot off the right one!" I yell. We stop so hard my teeth feel rattled. "Are you trying to get us killed?" she howls, holding her hand to her cheek as if I've slapped her. Her eyes are wild and glassy; she just might cry. "Are you freaking kidding me? You're the one driving!
Anna Banks (Of Poseidon (The Syrena Legacy, #1))
Boys will be boys, and ballplayers will always be arrested adolescents at heart. The proof comes in the mid-afternoon of an early spring training day, when 40 percent of the New York Mets’ starting rotation—Mike Pelfrey and I—hop a chain-link fence to get onto a football field not far from Digital Domain. We have just returned from Dick’s Sporting Goods, where we purchased a football and a tee. We are here to kick field goals. Long field goals. A day before, we were all lying on the grass stretching and guys started talking about football and field-goal kickers, and David Wright mentioned something about the remarkable range of kickers these days. I can kick a fifty-yard field goal, Pelfrey says. You can not, Wright says. You don’t think so? You want to bet? You give me five tries and I’ll put three of them through. One hundred bucks says you can’t, David says. This is going to be the easiest money I ever make. I am Pelf’s self-appointed big brother, always looking out for him, and I don’t want him to go into this wager cold. So I suggest we get a ball and tee and do some practicing. We get back from Dick’s but find the nearby field padlocked, so of course we climb over the fence. At six feet two inches and 220 pounds, I get over without incident, but seeing Pelf hoist his big self over—all six feet seven inches and 250 pounds of him—is much more impressive. Pelf’s job is to kick and my job is to chase. He sets up at the twenty-yard line, tees up the ball, and knocks it through—kicking toe-style, like a latter-day Lou Groza. He backs up to the twenty-five and then the thirty, and boots several more from each distance. Adding the ten yards for the end zone, he’s now hit from forty yards and is finding his range. Pretty darn good. He insists he’s got another ten yards in his leg. He hits from forty-five, and by now he’s probably taken fifteen or seventeen hard kicks and reports that his right shin is getting sore. We don’t consider stopping. Pelf places the ball on the tee at the forty-yard line: a fifty-yard field goal. He takes a half dozen steps back, straight behind the tee, sprints up, and powers his toe into the ball … high … and far … and just barely over the crossbar. That’s all that is required. I thrust both my arms overhead like an NFL referee. He takes three more and converts on a second fifty-yarder. You are the man, Pelf, I say. Adam Vinatieri should worry for his job. That’s it, Pelf says. I can’t even lift my foot anymore. My shin is killing me. We hop back over the fence, Pelf trying to land as lightly as a man his size can land. His shin hurts so much he can barely put pressure on the gas pedal. He’s proven he can hit a fifty-yard field goal, but I go into big-brother mode and tell him I don’t want him kicking any more field goals or stressing his right leg any further. I convince him to drop the bet with David. The last thing you need is to start the season on the DL because you were kicking field goals, I say. Can you imagine if the papers got ahold of that one? The wager just fades away. David doesn’t mind; he gets a laugh at the story of Pelf hopping the fence and practicing, and drilling long ones.
R.A. Dickey (Wherever I Wind Up: My Quest for Truth, Authenticity, and the Perfect Knuckleball)
Elvis was pretty slick. Nonetheless, I knew that he was cheating. His four-of-a-kind would beat my full house. I had two choices. I could fold my hand and lose all the money I’d contributed to the pot, or I could match Elvis’s bet and continue to play. If a gambler thought he was in an honest game, he would probably match the bet thinking his full house was a sure winner. The con artist would bet large amounts of money on the remaining cards, knowing he had a winning hand. I narrowed my eyes and pursed my lips, as if struggling to decide whether to wager five hundred pesos or fold my hand and call it quits. I knew there were five men between me and the door and watched them from the corner of my eye. Even if I folded and accepted my losses, I knew they would not let me leave without taking all my cash. They had strength in numbers and would strong arm me if they could. The men stared, intently watching my next move. I set down my beer and took five one hundred peso notes from my wallet. The men at the bar relaxed. My adrenaline surged, pumping through my brain, sharpening my focus as I prepared for action. I moved as if to place my bet on the table, but instead my hand bumped my beer bottle, spilling it onto Elvis’ lap. Elvis reacted instinctively to the cold beer, pushing back from the table and rising to his feet. I jumped up from my chair making a loud show of apologizing, and in the ensuing pandemonium I snatched all the money off the table and bolted for the door! My tactics took everyone by complete surprise. I had a small head start, but the Filipinos recovered quickly and scrambled to cut off my escape. I dashed to the door and barely made it to the exit ahead of the Filipinos. The thugs were nearly upon me when I suddenly wheeled round and kicked the nearest man square in the chest. My kick cracked ribs and launched the shocked Filipino through the air into the other men, tumbling them to the ground. For the moment, my assailants were a jumble of tangled bodies on the floor. I darted out the door and raced down the busy sidewalk, dodging pedestrians. I looked back and saw the furious Filipinos swarming out of the bar. Running full tilt, I grabbed onto the rail of a passing Jeepney and swung myself into the vehicle. The wide-eyed passengers shrunk back, trying to keep their distance from the crazy American. I yelled to the driver, “Step on the gas!” and thrust a hundred peso note into his hand. I looked back and saw all six of Johnny’s henchmen piling onto one tricycle. The jeepney driver realized we were being pursued and stomped the gas pedal to the floor. The jeepney surged into traffic and accelerated away from the tricycle. The tricycle was only designed for one driver and two passengers. With six bodies hanging on, the overloaded motorcycle was slow and unstable. The motorcycle driver held the throttle wide open and the tricycle rocked side to side, almost tipping over, as the frustrated riders yelled curses and flailed their arms futilely. My jeepney continued to speed through the city, pulling away from our pursuers. Finally, I could no longer see the tricycle behind us. When I was sure I had escaped, I thanked the driver and got off at the next stop. I hired a tricycle of my own and carefully made my way back to my neighborhood, keeping careful watch for Johnny and his friends. I knew that Johnny was in a frustrated rage. Not only had I foiled his plans, I had also made off with a thousand pesos of his cash. Even though I had great fun and came out of my escapade in good shape, my escape was risky and could’ve had a very different outcome. I feel a disclaimer is appropriate for those people who think it is fun to con street hustlers, “Kids. Don’t try this at home.
William F. Sine (Guardian Angel: Life and Death Adventures with Pararescue, the World's Most Powerful Commando Rescue Force)
Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.
Amanda Palmer (The Art of Asking; or, How I Learned to Stop Worrying and Let People Help)
I floor the gas pedal. The Sonoramic Commando V-8 growls like an angry tiger and leapfrogs us ahead of the traffic.
Daven Anderson (Vampire Syndrome)
Sher Mason was being followed.  She felt the prickly hair on the back of her neck as it stood straight up. What she didn’t understand was why anyone wanted to follow her. Sher ran a deli in the north suburbs of Northglenn, Colorado. Although her deli was popular, it wasn’t a high profile business. She was returning from a shopping trip in Denver, driving north on Interstate 25.  She hadn’t wanted to go downtown today, but needed some supplies so that she could start working on her fall display window.  Regardless, none of this offered an explanation as to why someone was following her.  She couldn’t see who followed her since it was after two in the afternoon, and there was a lot of traffic on the road. She looked again in the rear-view mirror, and saw that the black SUV changed lanes. It maneuvered closer to her. As she looked back to the road, she realized her exit came next. She jerked the wheel to the right to get off the interstate, and as she did, the black SUV exited also. What did she do now? She remembered a police station was only two blocks up the road on the left. She stomped on the gas pedal, and hoped no one was in the intersection coming up, and that the light would stay green. As luck had it, the light turned yellow as she sped through and made a quick left turn into the parking lot of the police station.  Glancing back her breath caught as she saw the SUV slow down.  Please keep
Elizabeth Sherry (Under the Aspens (The Aspen, #1))
This wasn’t Oakwood High where there were enough of us to form whatever factions we liked to fight our own separate battles. It wasn’t Tulsa Zoo, either, where everyone with legs long enough to reach a gas pedal could all fight the same one together. There were adults here, parents, real parents, which is like being around adults squared.
Fiona J.R. Titchenell (Confessions of the Very First Zombie Slayer (That I Know Of))
Well, it was an automotive audiophile's dream. You pushed the gas pedal and things happened. As well they should have, since the 2.4-litre straight
Anonymous
Seriously?” she asked, face alight with anger. “Did you forget where the gas pedal was? Or did you hope I would die of old age before we got here?
Lia Davis (Spring Fever: Shifters in Love)
Now, first of all this boy lived in a mansion – at least compared to our one-room shack in the swamp. Peter’s house wasn’t like one of those historic houses that all look alike. Naw, the Grants’ house was a mansion fixer-upper. White Lions on black-marble columns greeted you at the front. Then there was a veranda with black-and-white tiles. It had three bedrooms, a guest room and helpers’ quarters. Kitchen counters went on for ever, and there was a huge gas range and a fridge with ice comin’ out the side, clink-clink into your glass. Man. Two carved bannisters led upstairs, but one staircase was blocked off. That was to accommodate a Hammond B3 church organ. Yes, a real, live church organ that when Peter held down the keys and stepped on the pedals his whole family jumped up and praised the Lord or cursed the Devil.
Roland Watson-Grant (Sketcher)
Anyone lucky enough to have options should keep them open. Don’t enter the workforce already looking for the exit. Don’t put on the brakes. Accelerate. Keep a foot on the gas pedal until a decision must be made. That’s the only way to ensure that when that day comes, there will be a real decision to make.
Sheryl Sandberg (Lean In: Women, Work, and the Will to Lead)
When we reach the fence, we see the Dauntless standing in our headlight beams, blocking the gate. Their blue armbands stand out against the rest of their clothing. I try to keep my expression pleasant. I will not be able to fool them into thinking I’m Amity with a scowl on my face. A dark-skinned man with a gun in hand approaches Marcus’s window. He shines a flashlight at Marcus first, then Christina, then me. I squint into the beam, and force a smile at the man like I don’t mind bright lights in the eyes and guns pointed at my head in the slightest. The Amity must be deranged if this is how they really think. Or they’ve been eating too much of that bread. “So tell me,” the man says. “What’s an Abnegation member doing in a truck with two Amity?” “These two girls volunteered to bring provisions to the city,” Marcus says, “and I volunteered to escort them so that they would be safe.” “Also, we don’t know how to drive,” says Christina, grinning. “My dad tried to teach me years ago but I kept confusing the gas pedal for the brake pedal, and you can imagine what a disaster that was! Anyway, it was really nice of Joshua to volunteer to take us, because it would have taken us forever otherwise, and the boxes were so heavy--” The Dauntless man holds up his hand. “Okay, I get it.” “Oh, of course. Sorry.” Christina giggles. “I just thought I would explain, because you seemed so confused, and no wonder, because how many times do you encounter this--””Right,” the man says. “And do you intend to return to the city?” “Not anytime soon,” Marcus says. “All right. Go ahead, then.” He nodes to the other Dauntless by the gate. One of them types a series of numbers on the keypad, and the gate slides open to admit us. Marcus nods to the guard who let us through and drives over the worn path to Amity headquarters. The truck’s headlights catch tire tracks and prairie grass and insects weaving back and forth. In the darkness to my right I see fireflies lighting up to a rhythm that is like a heartbeat. After a few seconds, Marcus glances at Christina. “What on earth was that?” “There’s nothing the Dauntless hate more than cheerful Amity babble,” says Christina, lifting a shoulder. “I figured if he got annoyed it would distract him and he would let us through.” I smile with all my teeth. “You are a genius.” “I know.” She tosses her head like she’s throwing her hair over one shoulder, only she doesn’t have enough to throw. “Except,” says Marcus. “Joshua is not an Abnegation name.” “Whatever. As if anyone knows the difference.
Veronica Roth (Insurgent (Divergent, #2))
You have no other choice, I tell myself. There is no other way. With that in mind, I pull the door shut and look for a seat belt to buckle. I find only the frayed end of a seat belt and a broken buckle. “Where did you find this piece of junk?” says Christina. “I stole it from the factionless. They fix them up. It wasn’t easy to get it to start. Better ditch those jackets, girls.” I ball up our jackets and toss them out the half-open window. Marcus shifts the truck into drive, and it groans. I half expect it to stay still when he presses the gas pedal, but it moves. From what I remember, it takes about an hour to drive from the Abnegation sector to Amity headquarters, and the trip requires a skilled driver. Marcus pulls onto one of the main thoroughfares and pushes his foot into the gas pedal. We lurch forward, narrowly avoiding a gaping hole in the road. I grab the dashboard to steady myself. “Relax, Beatrice,” says Marcus. “I’ve driven a car before.” “I’ve done a lot of things before, but that doesn’t mean I’m any good at them!” Marcus smiles and jerks the truck to the left so that we don’t hit a fallen stoplight. Christina whoops as we bump over another piece of debris, like she’s having the time of her life. “A different kind of stupid, right?” she says, her voice loud enough to be heard over the rush of wind through the cab. I clutch the seat beneath me and try not to think of what I ate for dinner.
Veronica Roth (Insurgent (Divergent, #2))
Other important alterations to the genetic code involve so-called promoters and inhibitors, pieces of genes that regulate the gene’s ability to make products. Some of these products regulate the behavior of neurotransmitters. So promoters and inhibitors are like the gas and brake pedals of a gene as they control the delivery of neurotransmitters like serotonin and dopamine in the brain. For serotonin, implicated in depression, bipolar disorder, sleep and eating disorders, schizophrenia, hallucinations and panic attacks, as well as psychopathy, the breakdown enzyme is MAO-A. MAOA, the gene that produces this enzyme (and lacks its hyphen), has a promoter that comes in either a short form or a long form. The version of the MAOA gene with the short promoter has been associated with aggressive behavior and is called the “warrior gene.
James Fallon (The Psychopath Inside: A Neuroscientist's Personal Journey into the Dark Side of the Brain)
When you don't know what to do, you must be prepared to do anything and everything, in case it becomes necessary. You're sitting in your car with the gas and brake pedals both punched to the mat. Too much of that and everything falls apart.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase.
James Nestor (Breath: The New Science of a Lost Art)
If the nose became infected, the nasal cycle became more pronounced and switched back and forth quickly. The right and left nasal cavities also worked like an HVAC system, controlling temperature and blood pressure and feeding the brain chemicals to alter our moods, emotions, and sleep states. The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness
James Nestor (Breath: The New Science of a Lost Art)
The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness. Breathing through the right nostril will also feed more blood to the opposite hemisphere of the brain, specifically to the prefrontal cortex, which has been associated with logical decisions, language, and computing.
James Nestor (Breath: The New Science of a Lost Art)
So many times I looked at Wellhouse Turn and thought it might be nice to fly. And here it was, right when I needed it. An hour ago, when I stopped, I thought it would be an easy decision to drop my foot on the gas pedal and hold the steering wheel straight. But just thinking about it—the speed, the rush, the drop—no, that’s not easy at all. Anyone who thinks that’s an easy way out hasn’t had to face it. It'll be okay, I tell myself, then let out a hysterical laugh. I'm thinking about killing myself. Of course it won't be okay. I bury my head in my arms. I don't know anymore. I don't know, I don't know, god, I'm so tired. I miss Davy, and my nice quiet room where no one gets hurt, and the perpetual hum of my computer. I want to be there.
Francesca Zappia, Eliza and Her Monsters
His foot was heavy on the gas pedal by nature, and when he didn’t actively control himself, his default speed was usually twenty miles per hour over the posted limit. Despite conscious efforts to contain this impulse, he was beginning to feel he was beyond hope and desperately in need of a twelve-step speedaholics program.
Douglas E. Richards (Wired (Wired, #1))
I feel the cold, familiar presence of my demon as he jogs along unseen behind me. Do good. Do good. Do good. God help me to do good. The demon’s growling laugh follows as I tear out of the parking lot, tires squealing. God isn’t listening, Brody-boy. But you already knew that. I press my foot hard against the gas pedal, on my way to seek the redemption that’s eluded me all these years.
J.T. Geissinger (Sin With Me (Bad Habit, #3))
Anyone who's looking to achieve success must realize that keeping their foot on the gas pedal will eventually leave their tank empty.
Nick Shaw (Fit For Success - Lessons on Achievement and Leading Your Best Life)
The team spent several years working on Glitch, but it never caught on with a mainstream audience. The game was shut down in 2012 due to a lack of traction. Butterfield and his team had spent nearly four years working on a failed project. It was a painful setback—but it wasn’t “game over.” While working on Glitch, the team had built an internal productivity tool to streamline communication, and it was very effective. Instead of shutting down Tiny Speck, Butterfield decided to refocus the company around the productivity tool. They would polish and retool their internal app for external distribution, selling it to other companies with a SAAS (Software as a Service) pricing model. They called the new product Slack. The early traction for Slack was outstanding. In 2014, the company (now also known as Slack) raised $42.8 million in a new round of funding from several top tier venture firms. Later that year, they raised another $120 million, valuing the company at over $1 billion.[33] Your project might fail. But if your project fails, you don’t necessarily need to abandon your underlying passion. It’s like driving. When your car stops running, you don’t give up on the prospect of ever driving again—you get a new car so you can get back on the road. Butterfield knew he had a passion for startups, and he knew that startups were tough. When his vehicle broke down, he didn’t stop driving. He took his broken car to the dump, got a new one (with far more horsepower), and slammed his foot back down on the gas pedal.
Jesse Tevelow (The Connection Algorithm: Take Risks, Defy the Status Quo, and Live Your Passions)
Luke started the car, put it in drive, and stomped on the gas pedal. The tires screeched as he peeled out of the driveway. “I’m listening,
Jack Mars (Any Means Necessary (Luke Stone #1))
You good?” “Yeah. Okay. Good.” “Now, I’m going to be right here to tell you what to do, and I’ll help you steer if you start running us off the road.” I revved the gas pedal and then placed her foot on it and let her do the same. I could tell she was trying not to bail off of my lap—her body was practically vibrating with nerves—but she didn’t. She stayed, listening intently. I gave her basic instructions, and then I helped her ease onto the road, going about five miles per hour. She didn’t move her hands from two and ten o’clock, and I had to tug at the wheel slightly to straighten us out. And then we picked up speed, just a bit. “How does that feel?” “Like falling,” she whispered, her body rigid, her arms locked on the wheel. “Relax. Falling is easier if you don’t fight it.” “And driving?” “That too. Everything is easier if you don’t fight it.” “What if someone sees us?” “Then I’ll tell you when to wave." She giggled and relaxed slightly against me. I kissed her temple where it rested against my cheek, and she was immediately stiff as a board once more. Shit. I hadn’t thought. I’d just reacted. “I would have patted you on the back, but your forehead was closer,” I drawled. “You’re doin’ it. You’re drivin’.” “How fast are we going?” she said breathlessly. I hoped it was fear and not that kiss. “Oh you’re flyin’, baby. Eight miles an hour. At this rate, we will reach Salt Lake in two days, my legs will be numb, and Henry will want a turn. Give it a little gas. Let’s see if we can push it up to ten.” She pressed her foot down suddenly and we shot forward with a lurch. “Whoa!” I cried, my arms shooting up to brace hers on the wheel. I saw Henry stir from the corner of my eye. “Danika Patrick is the first female NASCAR driver to ever win a NASCAR Sprint Cup Series pole,” he said woodenly, before slumping back down in his seat. I spared him a quick glance, only to see his eyes were closed once more. Millie obviously heard him and she hooted and pressed the gas pedal down a little harder. “Henry just compared you to Danika Patrick. And he obviously isn’t alarmed that you’re driving because he’s already asleep again.” “That’s because Henry knows I’m badass.” “Oh yeah. Badass, Silly Millie. ‘Goin’ ninety miles an hour down a dead-end street,’” I sang a little Bob Dylan, enjoying myself thoroughly.
Amy Harmon (The Song of David (The Law of Moses, #2))
Let’s get to our site,” Anne said. “I’m gonna need a nap before the hunt…and lunch.” “Do you wish you would’ve gotten that rental car this morning?” Jill whispered as Anne and Ella settled into their seats. Shay nodded. “Uh-huh.” Jill had seen many campgrounds, but her jaw sagged, and her foot slipped off the gas pedal twice. Sally rolled on slowly as she stared at the cadre of camouflaged vehicles and tents. One man sat atop his RV in a lawn chair, his binoculars trained on the woods beyond. “They really do take this seriously,” Shay whispered in awe. “This is like a militaristic zone.” Jill backed into a slip covered with a quilt of netting and camouflage tarps strung from the trees high overhead. “What is the reason for all of this?” she asked. “The campground is designed to blend in with nature to be more welcoming to the Bigfoot,” Anne explained. “That’s what they told us when we checked in.” “Oh, is that it? Well, let me just craft a banner that says, ‘We come in peace or bite-sized pieces,”’ Jill said with a sardonic laugh.
Robin Alexander (The Trip)
I retrieved the guys’ guns, plus a baseball cap and a pair of sunglasses. “I doubt the cavalry will arrive any time soon. But we should still get out of here.” “Where to?” “Somewhere private. We have a lot to talk about.” “OK.” Fenton made her way around to the driver’s side of her Jeep and flipped up the windshield. “My hotel.” She fired up the engine and shifted into Reverse, then sat with one foot on the brake and the other pressing down on the clutch. Both her hands were on the wheel. At the top. Pressed together at the twelve o’clock position. She was hanging on tight. Her knuckles were white. Veins and tendons began to bulge. She closed her eyes. Her chest heaved, like she was having trouble catching her breath. Then she regained control. Slowly. She relaxed her grip. She opened her eyes, which dislodged a couple of tears. “Sorry.” She brushed her cheeks then switched her right foot to the gas pedal and raised the clutch. “I was thinking of Michael. I can’t believe he’s gone.
Lee Child (Better off Dead (Jack Reacher, #26))
You find what you love and you go for it. Life ain't about coasting. It's about pushin' the damn gas pedal all the way to the floor.
Kim Holden (Gus (Bright Side, #2))
When you are in conflict with yourself it’s like you’re a car whose gas pedal is also the brake. It’s hard to get anywhere.
Anne Heffron (You Don't Look Adopted)
Gas pedal, gas pedal, gas pedal, uh!
Cravity
that he’d have to be able to operate the clutch, the gear shift, and the gas pedal all at the same time.
J.A. Jance (Duel to the Death (Ali Reynolds, #13))
The thing you have to remember with old cars is that they don't just start up cold as soon as you turn the key. You have to pump the gas twice and then hold down the pedal.
Karen Harrington (Mayday)
The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness. Breathing through the right nostril will also feed more blood to the opposite hemisphere of the brain, specifically to the prefrontal cortex, which has been associated with logical decisions, language, and computing.13
James Nestor (Breath: The New Science of a Lost Art)
With a full night of plentiful sleep, we have a balanced mix between our emotional gas pedal (amygdala) and brake (prefrontal cortex). Without sleep, however, the strong coupling between these two brain regions is lost.
Matthew Walker (Why We Sleep: Unlocking the Power of Sleep and Dreams)
The problem is that if the amygdala sounds the alarm too often, the hypothalamus is constantly pressing on the gas pedal, then the brakes, and the brake pads wear out: The recovery system loses its resilience. When
Stuart Shanker (Self-Reg: How to Help Your Child (and You) Break the Stress Cycle and Successfully Engage with Life)
It’s like, we’ve been in a car with a brick on the gas pedal and no one at the wheel, careening down the road, running over people and crashing into things. We’re still in the car. We can’t get out of the car. But someone could at least grab the wheel.
Neil Stephenson
The right nostril is a gas pedal. When you’re inhaling primarily through this channel, circulation speeds up, your body gets hotter, and cortisol levels, blood pressure, and heart rate all increase. This happens because breathing through the right side of the nose activates the sympathetic nervous system, the “fight or flight” mechanism that puts the body in a more elevated state of alertness and readiness. Breathing through the right nostril will also feed more blood to the opposite hemisphere of the brain, specifically to the prefrontal cortex, which has been associated with logical decisions, language, and computing. Inhaling through the left nostril has the opposite effect: it works as a kind of brake system to the right nostril’s accelerator. The left nostril is more deeply connected to the parasympathetic nervous system, the rest-and-relax side that lowers blood pressure, cools the body, and reduces anxiety. Left-nostril breathing shifts blood flow to the opposite side of the prefrontal cortex, to the area that influences creative thought and plays a role in the formation of mental abstractions and the production of negative emotions. In 2015, researchers at the University of California, San Diego, recorded the breathing patterns of a schizophrenic woman over the course of three consecutive years and found that she had a “significantly greater” left-nostril dominance. This breathing habit, they hypothesized, was likely overstimulating the right-side “creative part” of her brain, and as a result prodding her imagination to run amok. Over several sessions, the researchers taught her to breathe through her opposite, “logical” nostril, and she experienced far fewer hallucinations.
James Nestor (Breath: The New Science of a Lost Art)
Do you have a driver's license?" "Of course," she said, not knowing if it was true or not. She was already sitting behind the steering wheel. He tossed her the keys and she turned the ignition as he climbed into the car. She pressed hard on the gas pedal and the car shrieked away from the curb. The back end fishtailed. She needed to get to school quickly and find some answers. She had a feeling that Catty wasn't going to last long in that place. The light turned yellow ahead of her. "Slow down!" Derek shouted as the car in front of them stopped for the light. She didn't let up. "You're going to rear-end it!" Derek cried, and his foot pressed the floor as if he were trying to work an invisible brake. She jerked the steering wheel, swerved smoothly around the car, and blasted through the intersection, ignoring the flurry of horns and screeching tires. Derek snapped his seat belt in place. "Why are you in such a hurry to get to school?" "Geometry test," she answered, and buzzed around two more cars. At the next junction she needed to make a left-hand turn, but the line of traffic waiting for the green arrow would delay her too long. She continued in her lane, and when she reached the intersection, she turned in front of the car with the right-of-way. Angry honks followed her as she blasted onto the next street. "We've got time, Tianna!" Derek yelled. "School doesn't start for another fifteen minutes." Would fifteen minutes give her enough time to get the answers she needed? She didn't think so. She pressed her foot harder on the accelerator. The school was at least a mile away, but if she ignored the next light and the next, then maybe she could get there with enough time to question Corrine. She didn't think her powers were strong enough to change the lights and she didn't want to chance endangering other drivers, but she was sure she could at least slow down the cross traffic. She concentrated on the cars zooming east and west on Beverly Boulevard in front of her without slowing her speed. "Tianna!" Derek yelled. "You've got a red light!" She squinted and stalled a Jaguar in the crosswalk. Cars honked impatiently behind the car, and when a Toyota tried to speed around it, she stopped it, too. She could feel the pressure building inside her as she made a Range Rover and a pick-up slide to a halt. She shot through the busy intersection against the light. Derek turned back. "You've got to be the luckiest person in the world.
Lynne Ewing (The Lost One (Daughters of the Moon, #6))
of the reward circuitry leads to a localized rebellion. If DeltaFosB is the gas pedal for bingeing, the molecule CREB functions as the brakes. CREB dampens our pleasure response.[134] It inhibits dopamine. CREB is trying to take the joy out of bingeing so that you give it a rest. Oddly enough, high levels of dopamine stimulate the production of both CREB and DeltaFosB. Our bodies are equipped with countless feedback mechanisms to keep us alive and functioning well. It makes perfect sense for mammals also to have evolved a braking system for bingeing on food or sex. There comes a time to move on and take care of the kids or maybe hunt and gather. But the glitch in the CREB/DeltaFosB balancing act is that it evolved long before humans were exposed to powerful reinforcers such as whiskey, cocaine, ice cream, or porn tube sites. All have the potential to override evolved satiation mechanisms, including CREB’s brakes. Put simply, CREB doesn’t stand much chance in the era of supernormal stimuli and widely available prescription and illicit drugs. What’s CREB to do in face of a Big Mac, fries and milkshake dinner, followed by 3-hour Mountain Dew-fuelled Call of Duty session, and two hours of surfing PornHub while smoking a joint? What array of enticements did a 19-year old hunter-gatherer encounter to goose his dopamine? Perhaps a second helping of overcooked rabbit meat or watching the four girls he’d known since birth tan hides.
Gary Wilson (Your Brain On Porn: Internet Pornography and the Emerging Science of Addiction)
If the country is a car, progressives are in charge of the gas pedal.
Tim Urban (What's Our Problem?: A Self-Help Book for Societies)
The problem is that if the amygdala sounds the alarm too often, the hypothalamus is constantly pressing on the gas pedal, then the brakes, and the brake pads wear out: The recovery system loses its resilience.
Stuart Shanker (Self-Reg: How to Help Your Child (and You) Break the Stress Cycle and Successfully Engage with Life)
Venting doesn’t extinguish the flame of anger; it feeds it. When we vent our anger, we put a lead foot on the gas pedal of the go system, attacking the target who enraged us. Hitting the punching bag without thinking of the target, though, keeps the go system on but enables us to consider alternative ways of responding. Sitting quietly begins to activate the stop system.
Adam M. Grant (Originals: How Non-Conformists Move the World)
The digital board needs to know when to push the gas pedal to accelerate the business speed, and when to push the brake to practice governance discipline.
Pearl Zhu (Digital Boardroom: 100 Q&as)
Five days after the last debate, on October 21, 2016, Politico reported that Clinton’s secretive transition team had “hit the gas pedal,” hiring staff and culling through résumés, while quietly reaching out to key Democrats.96 At
Roger Stone (The Making of the President 2016: How Donald Trump Orchestrated a Revolution)
Don’t enter the workforce already looking for the exit. Don’t put on the brakes. Accelerate. Keep a foot on the gas pedal until a decision must be made. That’s the only way to ensure that when that day comes, there will be a real decision to make.
Sheryl Sandberg (Lean In: Women, Work, and the Will to Lead)
There’s no use arguing that modern society isn’t a kind of paradise. The vast majority of us don’t, personally, have to grow or kill our own food, build our own dwellings, or defend ourselves from wild animals and enemies. In one day we can travel a thousand miles by pushing our foot down on a gas pedal or around the world by booking a seat on an airplane. When we are in pain we have narcotics that dull it out of existence, and when we are depressed we have pills that change the chemistry of our brains. We understand an enormous amount about the universe, from subatomic particles to our own bodies to galaxy clusters, and we use that knowledge to make life even better and easier for ourselves. The poorest people in modern society enjoy a level of physical comfort that was unimaginable a thousand years ago, and the wealthiest people literally live the way gods were imagined to have. And yet. There are many costs to modern society, starting with its toll on the global ecosystem and working one’s way down to its toll on the human psyche, but the most dangerous loss may be to community. If the human race is under threat in some way that we don’t yet understand, it will probably be at a community level that we either solve the problem or fail to. If the future of the planet depends on, say, rationing water, communities of neighbors will be able to enforce new rules far more effectively than even local government. It’s how we evolved to exist, and it obviously works.
Sebastian Junger (Tribe: On Homecoming and Belonging)
That's the secret. You find what you love and you go for it. Life ain't about coasting. It's about pushin' the damn gas pedal all the way to the floor. Same goes for fun and love, no coasting. Pedal to the floor.
Kim Holden (Gus (Bright Side, #2))
He almost stopped when he saw the two figures, as his instincts told him to come off the gas and hit the brake. He hit the gas pedal harder and saw the two female things bounce off the car and roll along the ground like thrown dice. “Well, that was fun.
Shaun Whittington (Snatchers)
None of these examples suggests a linear process in which changes at the outset can easily be traced all the way to the outcome, much as you expect a car to accelerate mildly after a gentle push on the gas pedal. We humans seem to strive to find linearity even when there is none. That’s why stories in hindsight that paint a linear path are so soothing—no matter their seemingly magical changes of direction.
Luis Perez-Breva (Innovating: A Doer's Manifesto for Starting from a Hunch, Prototyping Problems, Scaling Up, and Learning to Be Productively Wrong (The MIT Press))
There also seems to be a connection between his volume control and the gas pedal of the SUV. The louder he howls, the faster Stepmonster drives.
Gordon Korman (The Unteachables)
Lexington, I don’t see anyone else when you’re around.” “Oh, fuck off.” “I’m serious. Why do you think I’ve never…done anything with anyone before?” His foot eases off the gas pedal and he quickly eyes me. “I wasn’t interested in anything like that until I saw you.
Cora Rose (Lex (Unexpected, #5))
But the roadside was littered with cautious, conservative, prudent entrepreneurs. I wanted to keep my foot pressed hard on the gas pedal.
Phil Knight (Shoe Dog)
And putting on a new blade, getting your oldest boy to hold up the hitch so you can get at it, the first mosquito of the new season buzzes blood-thirstily past your ear with that eye-watering hum that always makes you think it’s the sound loonies must hear just before they kill all their kids or close their eyes on the Interstate and put the gas pedal to the floor or tighten their toe on the trigger of the .30-.30 they just jammed into their quackers; and then your boy’s sweat-slicked fingers slip and one of the other round harrow blades scrapes skin from your arm and looking around in that kind of despairing, heartless flicker of time, when it seems you could just give it all over and take up drinking or go down to the bank that holds your mortgage and declare bankruptcy, at that moment of hating the land and the soft suck of gravity that holds you to it, you also love it and understand how it knows darkness and has always known it.
Stephen King ('Salem's Lot)