Groove Best Quotes

There is a sacred calling on your life, and the question is: Will you spend your life flittering and fluttering about or take the time and really heed that call and create your own path to your highest good?...You cannot let other people define your life for you. You are the author of your own life...Real power is when you are doing exactly what you are supposed to be doing, the best it can be done. Authentic power. There's a surge, there's a kind of energy field that says, "I'm in my groove, I'm in my groove." And nobody has to tell you, "You go, girl," because you know you're already gone.

Perfectionism is not a quest for the best. It is a pursuit of the worst in ourselves, the part that tells us that nothing we do will ever be good enough.

Sienna's Pick for Best Pink Floyd Combined Song and Album Title Ever: "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict," Ummagumma

A story carves deep grooves into our brains each time we tell it. But we aren’t one story. We can change our stories. We can write our own. Melissa and Wendy and Jane and I joked about the Golden Globes and gave each other fake awards. I gave Melissa “Best Person in Charge.” She gave me “Most Famous and Most Normal.” This meant and means a great deal.

You've got one life to live, and you must live it for you! Do what makes you happy, and do it to the best of your ability. Embrace those who truly love you, and renounce the ones who don't. Love and be loved. Do the things that bring you elation and enjoy them! Shun all negativity and embrace the positive. Do away with all fear, and allow love to envelop you. Be happy. Be free. Be at peace. And be yourself. Eat, drink, be merry ... and make life a stone groove.

America” came from a massive jam,’ Wendy told me. ‘We were playing and rehearsing for hours and hours and we hit on this one groove that we continued to play for five hours, and then subsequent days afterwards we kept referring back to it, and then Prince came in and did that “America” solo and started singing and it turned into the song we know. To this day, we can put that track on and feel that band’s energy and feel what we were like at our best together – a fucking freight train. No one was like “psst … psst … psst”, like those cats he plays with now. It was just a massive freight train, and no one moved from the tracks. I’m really proud of that song. It’s a perfect representation of Prince and The Revolution.

Here's my question: What age are you when you're in Heaven? I mean, if it's Heaven, you should be at your beauty-queen best, and I doubt that all the people who die of old age are wandering around toothless and bald. It opens up a whole additional realm of questions, too. If you hang yourself, do you walk around all gross and blue, with your tongue spitting out of your mouth? If you are killed in a war, do you spend eternity minus the leg that got blown up by a mine? I figure that maybe you get a choice. You fill out the application form that asks you if you want a star view or a cloud view, if you like chicken or fish or manna for dinner, what age you'd like to be seen as by everyone else. Like me, for example, I might pick seventeen, in the hopes I grow boobs by then, and even if I'm a pruny centegenarian by the time I die, in Heaven, I'd be young and pretty. Once at a dinner party I heard my father say that even though he was old old old, in his heart he was twenty-one. So maybe there is a place in your life you ear out like a rut, or even better, like the soft spot on the couch. And no matter what else happens to you, you come back to that. The problem, I suppose, is that everyone's different. What happens in Heaven when all these people are trying to find each other after so many years spent apart? Say that you die and start looking around for your husband, who died five years ago. what if you're picturing him at seventy, but he hit his groove at sixteen and is wandering around suave as can be? Or what if you're Kate, and you die at sixteen, but in Heaven you choose to look thirty-five, an age you never got to be here on Earth. How would anyone ever be able to find you?

KNEE SURGERY I’D FIRST HURT MY KNEES IN FALLUJAH WHEN THE WALL FELL on me. Cortisone shots helped for a while, but the pain kept coming back and getting worse. The docs told me I needed to have my legs operated on, but doing that would have meant I would have to take time off and miss the war. So I kept putting it off. I settled into a routine where I’d go to the doc, get a shot, go back to work. The time between shots became shorter and shorter. It got down to every two months, then every month. I made it through Ramadi, but just barely. My knees started locking and it was difficult to get down the stairs. I no longer had a choice, so, soon after I got home in 2007, I went under the knife. The surgeons cut my tendons to relieve pressure so my kneecaps would slide back over. They had to shave down my kneecaps because I had worn grooves in them. They injected synthetic cartilage material and shaved the meniscus. Somewhere along the way they also repaired an ACL. I was like a racing car, being repaired from the ground up. When they were done, they sent me to see Jason, a physical therapist who specializes in working with SEALs. He’d been a trainer for the Pittsburgh Pirates. After 9/11, he decided to devote himself to helping the country. He chose to do that by working with the military. He took a massive pay cut to help put us back together. I DIDN’T KNOW ALL THAT THE FIRST DAY WE MET. ALL I WANTED to hear was how long it was going to take to rehab. He gave me a pensive look. “This surgery—civilians need a year to get back,” he said finally. “Football players, they’re out eight months. SEALs—it’s hard to say. You hate being out of action and will punish yourselves to get back.” He finally predicted six months. I think we did it in five. But I thought I would surely die along the way. JASON PUT ME INTO A MACHINE THAT WOULD STRETCH MY knee. Every day I had to see how much further I could adjust it. I would sweat up a storm as it bent my knee. I finally got it to ninety degrees. “That’s outstanding,” he told me. “Now get more.” “More?” “More!” He also had a machine that sent a shock to my muscle through electrodes. Depending on the muscle, I would have to stretch and point my toes up and down. It doesn’t sound like much, but it is clearly a form of torture that should be outlawed by the Geneva Convention, even for use on SEALs. Naturally, Jason kept upping the voltage. But the worst of all was the simplest: the exercise. I had to do more, more, more. I remember calling Taya many times and telling her I was sure I was going to puke if not die before the day was out. She seemed sympathetic but, come to think of it in retrospect, she and Jason may have been in on it together. There was a stretch where Jason had me doing crazy amounts of ab exercises and other things to my core muscles. “Do you understand it’s my knees that were operated on?” I asked him one day when I thought I’d reached my limit. He just laughed. He had a scientific explanation about how everything in the body depends on strong core muscles, but I think he just liked kicking my ass around the gym. I swear I heard a bullwhip crack over my head any time I started to slack. I always thought the best shape I was ever in was straight out of BUD/S. But I was in far better shape after spending five months with him. Not only were my knees okay, the rest of me was in top condition. When I came back to my platoon, they all asked if I had been taking steroids.

I left Brookstone and went to the Pottery Barn. When I was a kid and everything inside our house was familiar, cheap, and ruined, walking into the Pottery Barn was like entering heaven. If they really wanted people to enjoy church, I thought back then, they should make everything in church look and smell like the Pottery Barn. My dream was to surround myself one day with everything in the store, with the wicker baskets and scented candles, the brushed-silver picture frames. But that was a long time ago. I had already gone through a period of buying everything there was to buy at the Pottery Barn and decorating my apartment like a Pottery Barn outlet, and then getting rid of it all during a massive upgrade. Now everything at the Pottery Barn looked ersatz and mass-produced. To buy any of it now would be to regress in aspiration and selfhood. I didn’t want to buy anything at the Pottery Barn so much as I wanted to recapture the feeling of wanting to buy everything from the Pottery Barn. Something similar happened at the music store. I should try to find some new music, I thought, because there was a time when new music could lift me out of a funk like nothing else. But I wasn’t past the Bs when I saw the only thing I really cared to buy. It was the Beatles’ Rubber Soul, which had been released in 1965. I already owned Rubber Soul. I had owned Rubber Soul on vinyl, then on cassette, and now on CD, and of course on my iPod, iPod mini, and iPhone. If I wanted to, I could have pulled out my iPhone and played Rubber Soul from start to finish right there, on speaker, for the sake of the whole store. But that wasn’t what I wanted. I wanted to buy Rubber Soul for the first time all over again. I wanted to return the needle from the run-out groove to the opening chords of “Drive My Car” and make everything new again. That wasn’t going to happen. But, I thought, I could buy it for somebody else. I could buy somebody else the new experience of listening to Rubber Soul for the first time. So I took the CD up to the register and paid for it and, walking out, felt renewed and excited. But the first kid I offered it to, a rotund teenager in a wheelchair looking longingly into a GameStop window, declined on the principle that he would rather have cash. A couple of other kids didn’t have CD players. I ended up leaving Rubber Soul on a bench beside a decommissioned ashtray where someone had discarded an unhealthy gob of human hair. I wandered, as everyone in the mall sooner or later does, into the Best Friends Pet Store. Many best friends—impossibly small beagles and corgis and German shepherds—were locked away for display in white cages where they spent their days dozing with depression, stirring only long enough to ponder the psychic hurdles of licking their paws. Could there be anything better to lift your spirits than a new puppy?

BEST FRIENDS SHOULD BE TOGETHER We’ll get a pair of those half-heart necklaces so every ask n’ point reminds us we are one glued duo. We’ll send real letters like our grandparents did, handwritten in smart cursive curls. We’ll extend cell plans and chat through favorite shows like a commentary track just for each other. We’ll get our braces off on the same day, chew whole packs of gum. We’ll nab some serious studs but tell each other everything. Double-date at a roadside diner exactly halfway between our homes. Cry on shoulders when our boys fail us. We’ll room together at State, cover the walls floor-to-ceiling with incense posters of pop dweebs gone wry. See how beer feels. Be those funny cute girls everybody’s got an eye on. We’ll have a secret code for hot boys in passing. A secret dog named Freshman Fifteen we’ll have to hide in the rafters during inspection. Follow some jam band one summer, grooving on lawns, refusing drugs usually. Get tattoos that only spell something when we stand together. I’ll be maid of honor in your wedding and you’ll be co-maid with my sister but only cause she’d disown me if I didn’t let her. We’ll start a store selling just what we like. We’ll name our firstborn daughters after one another, and if our husbands don’t like it, tough. Lifespans being what they are, we’ll be there for each other when our men have passed, and all the friends who come to visit our assisted living condo will be dazzled by what fun we still have together. We’ll be the kind of besties who make outsiders wonder if they’ve ever known true friendship, but we won’t even notice how sad it makes them and they won’t bring it up because you and I will be so caught up in the fun, us marveling at how not-good it never was.

Cutting Board Maintenance Moisturize! Once a month I spend some quality time, just me and my cutting board family. Wood is porous and kind of alive—it expands and contracts, absorbs moisture and dries out. Without any TLC even the best wooden cutting board can crack, warp, or even rot from the inside. Luckily, all you need to prevent all of that is monthly moisturization. 1. Start with a clean and dry board: Using a soft dish sponge, scrub clean with dish soap. Remove any tough stains with a mixture of baking soda and water. Never use any harsh abrasives like bleach or steel wool. Rinse and then dry the board with a towel and leave it standing on its edge to fully dry. (If you can, it’s best to store your board standing on its edge when not in use so moisture doesn’t fester underneath.) When washing your board, be sure to wet both sides. This ensures that both sides are equally moist and dry at the same rate to prevent warping. 2. Apply a generous layer of food-grade mineral oil: Lay the board flat so excess oil doesn’t run off, and use your hands to spread a thick layer of mineral oil all over one side, rubbing into the edges and any grooves. Why mineral oil? Unlike most other oils, such as canola, olive, or coconut, mineral oil is totally flavorless and won’t grow rancid 3. Give it time to soak in: Let it sit for a few hours and preferably overnight to drink in as much oil as possible. 4. Buff and repeat: Use a towel to rub away any excess oil the board didn’t soak up. Next, buff the board, rubbing in any last remnants of oil. It should not feel slick or greasy when you’re done. Flip and repeat on the other side. • Level up: To give your board an almost velvety feel, after oiling both sides, rub them down with board cream. Board cream is a mixture of food-grade mineral oil and beeswax that you can purchase or make yourself. Using a towel, rub a thin, even layer all over the board. No need to wipe it off after.

She had wished to be imprudent when she was young; but her friends had been too strong for her. She had been reduced, and kept in order, and made to run in a groove, — and was now, when she sat looking at her little boy with his bold face, almost inclined to think that the world was right, and that grooves were best. But if she had been controlled when she was young, so ought the Duke to be controlled now that he was old.

36. We All Struggle With Motivation Sometimes Shock, horror…yes, even I feel unmotivated occasionally! I am human. So don’t worry when you feel a little demotivated - it is normal. Just give yourself a short break, take a nap, go for a walk, make a cup of tea, then pick yourself up and make the conscious decision to get charging. It is always best not to deny to yourself that you might occasionally suffer from a little bit of stinkin’ thinkin’ - so give it its moment, then boot it out! So don’t beat yourself up about having a bad day - I have had loads of them and will have many more in the future. Take a deep breath, pat yourself on the back for being human after all, then get out there and get moving again. Champions don’t stay down for long. Oh, and I have a good trick for doing stuff, like exercising, when I really am not in the mood…I tell myself that I can quit, but only after three minutes. I have to at least begin. Invariably after three minutes of running, I find I am in the groove and want to keep going. The hard bit is always getting going, so I commit at least to start, with my ‘three-minute-get-out clause’…which, of course, then doesn’t get used! Whatever works for you…but keep feeding the motivation into your brain and soul every day. Remember the previous chapter on armpits!

Finally there came a crisp blue afternoon, a Sunday, the day after Daylight Saving ended, when they met at the park at three o’clock and hit for so long that the light began to fail. Pip was in an absolute groove with her forehand, Jason was bounding around and achieving his own personal-best low error rate, and although her elbow had begun to ache she wanted never to stop. They had impossibly long rallies, back and forth, whack and whack, rallies so long that she was giggling with happiness by the end of them. The sun went down, the air was deliciously cool, and they kept hitting. The ball bouncing up in a low arc, her eyes latching on to it, being sure to see it, just see it, not think, and her body doing the rest without being asked to. That instant of connecting, the satisfaction of reversing the ball’s inertia, the sweetness of the sweet spot. For the first time since her early days at Los Volcanes she was experiencing perfect contentment. Yes, a kind of heaven: long rallies on an autumn evening, the exercise of skill in light still good enough to hit by, the faithful pock of a tennis ball. It was enough.

After a year or two of sitting out, being called out, and sometimes being left out, I was sent to the office, and arrived to find God waiting for me. At least that’s who I thought it was. It turned out to be a bishop. He handed me a mimeographed copy of the Nicene Creed and we went through it, line by line. When we were done, he handed me a note to take home to my parents. The note read, “Brené is Catholic now.” Still, things were relatively good for the next couple of years as I started to get into the groove of my new life in New Orleans, mostly because I had the best BFF in the world—

She had once loved to draw, loved to tell stories to herself as she ran the pen over the page, fusing a memory into the drawing, a scene that came to life when she was done, running her fingers over the inked grooves. But she had stopped. Art was too open, too naked. Someone who could perceive the raw memory deposits of others was especially paranoid about revealing the self. She preferred to type than to write. She tried her best never to leave a personal trace in the world. Except . . . when you did that, you also stopped conversing with yourself. Leaving deposits and examining them was how people understood their own story, how they grew. But Clara had understood her. She was reminding Beatrice how she loved art, the beauty of the kind of deposited story that only she could make and appreciate. Just for herself. Not a performance for an audience.

Success isn't just about hustling till you're drained or chasing endless ideals. It's about aligning actions with values, embracing the journey, and unlocking the power of flow and fulfillment. It's all about finding your groove and living your best life!

I switched my own thoughts back into the groove of facts. One thing at a time. The best way of forgetting how you think you feel is to concentrate on what you know you know …

In my experience, triggers are the prime reason that men and women end up retreating to gender silos, narrowing their experience and depriving themselves of useful connections. That’s what happened when Jen enlisted Chantal to commiserate with her after the meeting in which Mark received credit for her idea. Sharing her resentment with a female colleague may have temporarily relieved the emotional distress Jen felt at being disregarded. But venting her feelings only reinforced the story she was telling herself to explain what had happened: “Men just can’t listen to women!” This increased the likelihood of her remaining stuck in a negative groove. It’s the stories we tell ourselves when we feel triggered that keep us dug in and limit our ability to frame an effective response. Here’s how the process works: First, the trigger kicks off an emotional reaction that blindsides us. We feel a rush of adrenaline, a sinking in the pit of our stomach, a recoil, a blinding rage, or a snide “of course.” Or we may simply feel confusion. Our immediate impulse may be to lash out. But if we’re in a work situation, we fear what this could cost us, so we try to suppress our feelings and move on. When this doesn’t succeed, we may grab the first opportunity to complain to a sympathetic colleague, which is why so much time at work gets consumed in gripe sessions and unproductive gossip. In this way, our response to triggers plays a role in shaping toxic cultures that set us against one another, justify sniping, and waste everybody’s time. But whether we suffer in silence or indulge the urge to vent, the one thing we almost always do when triggered is try to put what happened in some kind of context. This is where storytelling enters the picture. We craft a narrative based on past experience or perceptions in a way that assigns blame, exonerates us, and magnifies impact. Because these stories make us feel better, we may not stop to question whether they are either accurate or useful. Yet the truth is that our go-to stories rarely serve us well. They are especially damaging when they operate across divides: gender, of course (“Men can’t, women just refuse”), but also race, ethnicity, sexual orientation, and age (“They always, they seem incapable of…”). Because these default stories rely on generalizations and stereotypes, they reinforce any biases we may have. This makes it difficult for us to see others in their particularity; instead, they appear to us as members of a group. In addition, because our go-to stories usually emphasize our own innocence (“I had no idea!” “I never guessed he would…”), they often reinforce our feelings of being aggrieved or victimized—an increasing hazard for men as well as women. Since we can’t control other people, our best path is to acknowledge the emotional and mental impact a trigger has on us. This necessary first step can then enable us to choose a response that enhances our dignity and serves our interests.

What’s your unique angle in thirty seconds or less?” In other words, why would anyone care to read his newsletter? I know that sounds harsh, but that’s the first question you have to answer before you put yourself into the public sphere. Pressed into defining his unique angle, Ben paused. He rumpled his face up, laughed nervously, and shrugged. This is hard! Finally he spoke, slowly, and then with confidence. Listen to how Ben defined his angle, his sauce: “I’ve been a performance coach for the last fourteen years, working with the best athletes in the world. Helping people perform better is my groove. I want to help anybody who wants to have a great day and shift them into the mentality to dominate their life. I have information to share when it comes to dealing with the best.” That is beautiful! Both in its heartfelt honesty and authenticity, but also in its clarity. Let’s pick it apart and look at what he did in those four sentences: He defines who he is, Why you should trust him, What he is passionate about, and What unique thing this prepares him to do for you. It is clear, approachable, direct, and short. The first three sentences define what makes him special (fourteen years helping the best athletes in the world perform better!), and the fourth (how he’s solving his customers’ problems, teaching mindsets needed to dominate life) defines the kind of love and attention he’ll generously dispense to cultivate a community. Take a minute, and as Ben has done, write out a pitch in your journal describing your special sauce. CHALLENGE Write out your unique angle. There are no right answers here. You can change these any time you’d like. Who are you? Why should people listen? What are you passionate about? What will you do for people?

Stanley reads The Mirror Thief. It’s a book of poems, but it tells a story: an alchemist and spy called Crivano steals an enchanted mirror, and is pursued by his enemies through the streets of a haunted city. Stanley long ago stopped paying the story any mind. He’s come to regard it as a fillip at best, at worst as a device meant to conceal the book’s true purpose, the powerful secret it contains. Nothing, he’s quite certain, could be so obscure by accident. As he reads, his eyes graze each poem’s lines like a needle over an LP’s grooves, atomizing them into letters, reassembling them into uniform arcades. What he’s looking for is a key: a gap in the book’s mask, a loose thread to unravel its veil. He tries tricks to find new openings—reading sideways, reading upsidedown, reading whitespace instead of text—but the words always close ranks like tiles in a mosaic, like crooks in a lineup, and mock him with their blithe expressions. The usual suspects.

SURIKOGI: The grinding pestle that is used with the suribachi. Again, look for the largest pestle that fits reasonably with the size of your bowl. A wider bottom on the pestle will mean quicker dispatching of the grinding process. The best surikogi are made from the thick branch of a sansho (prickly ash) bush, a relative of Sichuan pepper. The knobby surface makes getting a purchase on the pestle easier than slick wood. TAKE BURASHI: A small, rectangular bamboo “brush,” sometimes sold with suribachi sets, which is handy to have for removing foods that cling stubbornly to the grooves of the suribachi. Also good for scraping the last grated ginger or wasabi off the oroshigane grating plate. OROSHIGANE

Very few of us are Tolstoys or Gandhis, let alone bodhisattvas. We are just ordinary human beings caught in the groove of working or bringing up families, or for too many, merely surviving. Our lives offer only limited choices. However, peace does start with the individual, and even in the most mundane of lives it can be expressed in vivid and compelling ways.

The theory also showed that superconductivity is not a mere extension of ordinary conductivity. Previously it had always seemed paradoxical that the best normal conductors, copper and silver, are feeble superconductors; they do not superconduct even when the temperature is a thousandth of a degree above absolute zero. Seen in the light of the new theory, however, that finding began to make sense. Good conductors are good precisely because their conduction electrons ignore the lattice. But by encouraging the electrons and the lattice to go their separate ways, these materials never give Cooper pairs a chance to form. Remember, the pairing mechanism relies crucially on an electron’s ability to deform the lattice (like the bowling ball rolling on the waterbed) so that a second one can follow in its tracks. If the waterbed is so stiff that the first bowling ball can’t make a groove in it, there’s no chance that a second one will follow. So good conductors are lousy superconductors, because they can’t form the necessary Cooper pairs.

He traced a groove in the melamine counter. "I had some of the best times sitting around your table, throwing out math problems for you to solve or talking hockey with Sanjay and your dad." He pointed to the dent. "Do you remember this?" Daisy put the pastries in the microwave and took down two mugs from the cupboard. "What is it?" "It's where I dropped a bowl of pakoras when you walked into the kitchen wearing a tight green dress that Layla had bought for you because she was dragging you to a school dance. You were sixteen, and you looked amazing. Your dad and Sanjay went crazy. Sanjay insisted you wear a winter jacket. Layla had to run interference. That was the day I realized you weren't a little girl anymore and I couldn't treat you like you were.

So let’s proceed with Chisholm’s exposition: SiS “can be seen best if we do not define it, but rather illustrate it with a few examples… There is a SiS between the grooves in the phonograph record and the music that is played from it… between a blueprint and a machine that is made from it… If you have learned to do something the way somebody else does it, there is a SiS between your habits and his… SiS depends, you see, on order and on relations which exist in the territory and in the symbolism….(p.37)

I Feel for You,” Chaka Khan “She’s a Bad Mama Jama,” Carl Carlton “Ring My Bell,” Anita Ward “More Bounce to the Ounce,” Zapp “Le Freak,” CHIC “Best of My Love,” The Emotions “You Dropped a Bomb on Me,” The Gap Band “Forget Me Nots,” Patrice Rushen “I’m Coming Out,” Diana Ross “Let’s Groove,” Earth, Wind & Fire “Xanadu,” Olivia Newton-John “Night Fever,” Bee Gees “Love Rollercoaster,” Ohio Players “Get Down on It,” Kool & The Gang

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the best commercial songs have an appeal to the masses because they contain an innate truth, a connection that cannot be denied, whether it is a groove that has an immediate physical effect or a lyric so perfectly wedded to music that an emotional reaction invariably occurs.

A stone needs only a trickle of water, unceasing in it's focus, to create a groove. If you are the water, take your time to do the work. If you are the stone, best roll out of the way before you are split in two