Impact Of Music Quotes

Even now, all possible feelings do not yet exist, there are still those that lie beyond our capacity and our imagination. From time to time, when a piece of music no one has ever written or a painting no one has ever painted, or something else impossible to predict, fathom or yet describe takes place, a new feeling enters the world. And then, for the millionth time in the history of feeling, the heart surges and absorbs the impact.

To believe in a child is to believe in the future. Through their aspirations they will save the world. With their combined knowledge the turbulent seas of hate and injustice will be calmed. They will champion the causes of life's underdogs, forging a society without class discrimination. They will supply humanity with music and beauty as it has never known. They will endure. Towards these ends I pledge my life's work. I will supply the children with tools and knowledge to overcome the obstacles. I will pass on the wisdom of my years and temper it with patience. I shall impact in each child the desire to fulfill his or her dream. I shall teach.

I'm in love with New York. It matches my mood. I'm not overwhelmed. It is the suitable scene for my ever ever heightened life. I love the proportions, the amplitude, the brilliance, the polish, the solidity. I look up at Radio City insolently and love it. It's all great, and Babylonian. Broadway at night. Cellophane. The newness. The vitality. True, it is only physical. But it's inspiring. Just bring your own contents, and you create a sparkle of the highest power. I'm not moved, not speechless. I stand straight, tough and I meet the impact. I feel the glow and the dancing in everything. The radio music in the taxis, scientific magic, which can all be used lyrically. That's my last word. Give New York to a poet. He can use it. It can be poetized. Or maybe that's mania of mine, to poetize. I live lightly, smoothly, actively, ears or eyes wide open, alert, oiled! I feel the glow and the dancing in every thing and the tempo is like that of my blood. I'm at once beyond, over and in New York, tasting it fully.

So Witch Baby played. Tossing her head, sucking in her cheeks and popping up with the impact of each beat. Thrusting her whole body into the music and thrusting the music into the air around her. She imagined that her drums were planets and the music was all the voices of growth and light and life joined together and traveling the universe.

My words are not that powerful. I started saying in 1985 I don’t think we should have a music talking about ni**ers and b*tches and h*es. It had no impact. I’ve said it. I’ve repeated it. I still repeat it. To me, that’s more damaging than a statue of Robert E. Lee.

The impact of music is so great that you'll leave your book and start dancing.

I believe that life is all about perception and timing. That good things come to those who act and that life’s about more than collecting a paycheck. I believe that the only person you’re destined to become is the one that you decide to be. That if you try hard enough you can convince yourself of anything. That having patience doesn’t make you a hero nor does it make you a doormat. I believe that not showing love proves you’re weak and belittling others doesn’t make you strong. That you are never as far away from people as the miles may suggest. That life’s too short to read awful books, listen to terrible music, or be around uninspiring people. I believe that where you start has little impact on where you finish. That sometimes the best thing you can do is walk away. That you can never be overdressed or overeducated. I believe that the cure for anything is salt water; sweat, tears, or the sea. That you should never let your memories be greater than your dreams. And that you should always choose adventure.

I discovered the profound impact of music as a tool for navigating through my grief.

Skype demonetized long-distance telephony; Craigslist demonetized classified advertising; Napster demonetized the music industry. This list goes on and on. More critically, because demonetization is also deceptive, almost no one within those industries was prepared for such radical change.

Raw, alive and honest to the point of disgusting it's listener, Placebo set out to inspire mystery and confusion. Admitting to relishing groups who could make their audience vomit with the sheer intensity of their musical vibrations, Brian clearly knew how to make an impact. Discussing sonic overload with unsettling enthusiasm, he claimed "Some frequencies can make you physically ill or make your bowels loose. The Swans used to do it. By the end of gigs people would vomit because the frequencies were so nasty.

Silence can bring with it a vacancy that in its turn craves the distraction of the human voice or the obscuring impact created...by music. These distractions can help to stifle the terror of being abandoned to the silence of the noisy mind.

So I think that a protest,' she went on, 'like a work of dance or a work of music, is something done, at least in part, by the protestor for the protestor.' She saw I was about to interrupt so said, 'One more minute. Let me explain. Of course one hopes and plans for impact, for audience, for change, for efficacy. But, like dance, like music, a protest can be a religious ritual too, one that needn't be derisively looked down upon as magical thinking, but a spiritual act where the act itself is the goal. And that act may on some level be co-opted, but in the subjective world of the protestor it is a way, in itself, to be. Even in solipsism, the subject can be moral. You can call it hokum if you wish, but for the protestor, the protest makes a moral world in which she can abide.

a philosophical engagement with music’s ineffability rarely calls for silence or declarations of the unspeakable. Rather, it asks us to think through the ways in which the impact of music is made to address intricate philosophical problems specific to the modern world.

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

We used to believe the universe was stable. We saw its cycles, the reliable circles it traced, and called the pattern static, meaning unmoving Then we learned its wildness—asteroids that leave their own clusters and impact with planets that've also abandoned their orbits, everything dancing off track to the music of chaos

Popular music creates most impact in the telling of stories.

The impact of a music minister is to the degree that he/she is able to stay with God.

Now I look back and realize the devastating impact that Hair's message had on my thinking, religious outlook, attitudes and morality.

Plus, it’s an optimistic sort of music. People want that at the moment. Who needs death metal when you’ve got the Nazis?” They

You cannot use another man's leg to run your race. Wives stop waiting for your husbands to do everything. For God's sake make an impact. Nobody is a threat to your development.

Music can get us through difficult patches in our lives by changing not only how we feel about ourselves, but also how we feel about everything outside ourselves.

Develop your own skills and styles. In music, designing, electronics, etc., you may have a peculiar way of exposing your dreams in an uncommon way

The impact on the audience is a sort of emotional hostage-taking: YOU WILL FEEL SOMETHING VERY POWERFUL RIGHT NOW, the eagle sings in the voice of a pennywhistle. YOU WILL SWELL WITH VAGUE BUT IMPORTANT-FEELING EMOTIONS FOR NO DIESCERNABLE REASON.

The physical impact of taiko music, along with the sheer visual poetry of a choreographed ensemble presenting its music in perfect synchrony, is so powerful and inviting that taiko is beginning to catch on as Japan's most influential and lasting gift to world music.

Because I was never alone, I had no comprehension of the impact my music and I were making on the outside world. I never had time to think or reflect. I now believe that this was completely by design. Did Tommy know I would be easier to control if I were kept ignorant of the full scope of my power?

WE USED TO believe the universe was stable. We saw its cycles, the reliable circles it traced, and called the pattern static, meaning unmoving. Then we learned its wildness—asteroids that leave their own clusters and impact with planets that’ve also abandoned their orbits, everything dancing off track to the music of chaos.

Such colourless phrases as he achieved were produced with a difficulty, a hesitancy, simulated perhaps, but decidedly effective in their unconcealed ineptness. Like most successful men, he had turned this apparent disadvantage into a powerful weapon of offense and defense, in the way that the sledge-hammer impact of his comment left, by its banality, every other speaker at a standstill, giving him as a rule complete mastery of the conversational field. A vast capacity for imposing boredom, a sense of immensely powerful stuffiness, emanated from him, sapping every drop of vitality from weaker spirits. "So you were at school together," he said slowly.

Moments of pride commemorate people’s achievements. We feel our chest puff out and our chin lift. 2. There are three practical principles we can use to create more moments of pride: (1) Recognize others; (2) Multiply meaningful milestones; (3) Practice courage. The first principle creates defining moments for others; the latter two allow us to create defining moments for ourselves. 3. We dramatically underinvest in recognition. • Researcher Wiley: 80% of supervisors say they frequently express appreciation, while less than 20% of employees agree. 4. Effective recognition is personal, not programmatic. (“ Employee of the Month” doesn’t cut it.) • Risinger at Eli Lilly used “tailored rewards” (e.g., Bose headphones) to show his team: I saw what you did and I appreciate it. 5. Recognition is characterized by a disjunction: A small investment of effort yields a huge reward for the recipient. • Kira Sloop, the middle school student, had her life changed by a music teacher who told her that her voice was beautiful. 6. To create moments of pride for ourselves, we should multiply meaningful milestones—reframing a long journey so that it features many “finish lines.” • The author Kamb planned ways to “level up”—for instance “Learn how to play ‘Concerning Hobbits’ from The Fellowship of the Ring”—toward his long-term goal of mastering the fiddle.

The main character in Done and Dusted is named Emmy. Emmy and I don’t have that much in common, but like me, Emmy, has ADHD. The differences in the way our brains work can be subtle, but it doesn’t mean that they don’t exist or make an impact on the way we live our lives. I know being diagnosed with ADHD looks different for all of us, but if you’ve ever had a hard time explaining why you leave literally everything until the last minute, why you feel out of control, why your tongue feels like it doesn’t belong in in your mouth when the music is too loud, or any of the countless other things we feel that are apart of ADHD, you might see yourself in Done and Dusted. Emmy and I are right there with you. Happy reading, Lyla

The whole secret lies in confusing the enemy, so that he cannot fathom our real intent.’” To put it perhaps a little more clearly: any attack or other operation is CHENG, on which the enemy has had his attention fixed; whereas that is CH’I,” which takes him by surprise or comes from an unexpected quarter. If the enemy perceives a movement which is meant to be CH’I,” it immediately becomes CHENG.”] 4.    That the impact of your army may be like a grindstone dashed against an egg— this is effected by the science of weak points and strong. 5.    In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. [Chang Yu says: “Steadily develop indirect tactics, either by pounding the enemy’s flanks or falling on his rear.” A brilliant example of “indirect tactics” which decided the fortunes of a campaign was Lord Roberts’ night march round the Peiwar Kotal in the second Afghan war.76 6.    Indirect tactics, efficiently applied, are inexhausible as Heaven and Earth, unending as the flow of rivers and streams; like the sun and moon, they end but to begin anew; like the four seasons, they pass away to return once more. [Tu Yu and Chang Yu understand this of the permutations of CH’I and CHENG.” But at present Sun Tzu is not speaking of CHENG at all, unless, indeed, we suppose with Cheng Yu-hsien that a clause relating to it has fallen out of the text. Of course, as has already been pointed out, the two are so inextricably interwoven in all military operations, that they cannot really be considered apart. Here we simply have an expression, in figurative language, of the almost infinite resource of a great leader.] 7.    There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. 8.    There are not more than five primary colors (blue, yellow, red, white, and black), yet in combination they produce more hues than can ever been seen. 9.    There are

It's always been the love of the music for me, the rawness of the notes vibrating through my body, the honesty of the sound I create that blocks out all the other shit. If you don't let all that, the music, its impact, become a part of you, then it doesn't matter how good you are, how successful. I don't care who you are, if you don't surrender to the power of the music, you are just playing a role.

After all, emotions are not some mystical phenomenon – they are the result of a biochemical process. Hence, in the not too distant future a machine-learning algorithm could analyse the biometric data streaming from sensors on and inside your body, determine your personality type and your changing moods, and calculate the emotional impact that a particular song – even a particular musical key – is likely to have on you.10

I challenged one student about why he always wore headphones in class. He replied that it didn’t matter, because he wasn’t actually playing any music. In another lesson, he was playing music at very low volume through the headphones, without wearing them. When I asked him to switch it off, he replied that even he couldn’t hear it. Why wear the headphones without playing music or play music without wearing the headphones? Because the presence of the phones on the ears or the knowledge that the music is playing (even if he couldn’t hear it) was a reassurance that the matrix was still there, within reach. Besides, in a classic example of interpassivity, if the music was still playing, even if he couldn’t hear it, then the player could still enjoy it on his behalf. The use of headphones is significant here – pop is experienced not as something which could have impacts upon public space, but as a retreat into private ‘OedIpod’ consumer bliss, a walling up against the social. The consequence of being hooked into the entertainment matrix is twitchy, agitated interpassivity, an inability to concentrate or focus. Students’ incapacity to connect current lack of focus with future failure, their inability to synthesize time into any coherent narrative, is symptomatic of more than mere demotivation.

What is soft power? It is the ability to get what you want through attraction rather than coercion or payments. It arises from the attractiveness of a country’s culture, political ideals, and policies. When our policies are seen as legitimate in the eyes of others, our soft power is enhanced. America has long had a great deal of soft power. Think of the impact of Franklin Roosevelt’s Four Freedoms in Europe at the end of World War II; of young people behind the Iron Curtain listening to American music and news on Radio Free Europe; of Chinese students symbolizing their protests in Tiananmen Square by creating a replica of the Statue of Liberty; of newly liberated Afghans in 2001 asking for a copy of the Bill of Rights; of young Iranians today surreptitiously watching banned American videos and satellite television broadcasts in the privacy of their homes. These are all examples of America’s soft power. When you can get others to admire your ideals and to want what you want, you do not have to spend as much on sticks and carrots to move them in your direction. Seduction is always more effective than coercion, and many values like democracy, human rights, and individual opportunities are deeply seductive. As General Wesley Clark put it, soft power “gave us an influence far beyond the hard edge of traditional balance-of-power politics.” But attraction can turn to repulsion if we act in an arrogant manner and destroy the real message of our deeper values.

Stand outside the rare movie with a strong and daring female protagonist, and watch women emerging with higher heads, stronger walks, and greater confidence. Consider the importance of a sports champion who comes from a group that has been made to feel it can’t win, a popular movie in which American Indians are finally the “good guys,” a violinist whose music soars while he sits onstage in leg braces, a deaf actress who introduces millions of moviegoers to the expressiveness of sign language, and even one woman who remains joyous, free, sexual, and good at her work after sixty or seventy. The images of power, grace, and competence that these people convey have a life-giving impact—just as trivialized, stereotyped, degrading, subservient, and pornographic images of bodies that look like ours do the opposite, as though we absorb that denigration or respect through our nerve endings. Wherever negative physical imagery has been part of low self-esteem, a counterpoint of positive imagery can be part of raising it.

as in musical chairs when there’s one fewer seat than there are humans who need it, but so long as the music plays the number of seats is immaterial and everyone is still in the game. You have to not stop. You have to keep moving. You have this glorious orbit and when you’re orbiting you’re impact-proof and nothing can touch you. When the planet is galloping through space and you gallop after it through light and dark with your time-drunk brain, nothing can end. There could be no end, there can be only circles.

The success of the Industrial School at Sutton can also be measured in terms of its impact on Kate’s younger brothers and sister—Thomas, George, and Mary—who were sent there from Bermondsey Workhouse after the death of their father. Within several years, George Eddowes had been trained as a shoemaker, while Thomas Eddowes had been taught music and was sent to join the band of the 45th Nottinghamshire Regiment of Infantry in Preston. Mary too succeeded well enough in her “domestic studies” to warrant placement as a servant.

One of the songs which certainly impacted greatly in the summer of 1977 was a song which sounded as if Kraftwerk had gone potty and recruited a bona fide American soul singer. In fact, it wasn’t Kraftwerk, but Italian musician and producer Giorgio Moroder. ‘One day in Berlin,’ says Bowie, ‘Eno came running in and said, “I have heard the sound of the future.” … He puts on “I Feel Love”, by Donna Summer … He said, “This is it, look no further. This single is going to change the sound of club music for the next 15 years.” Which was more or less right.

Berlin. November 18, 1917. Sunday. I think Grosz has something demonic in him. This new Berlin art in general, Grosz, Becher, Benn, Wieland Herzfelde, is most curious. Big city art, with a tense density of impressions that appears simultaneous, brutally realistic, and at the same time fairy-tale-like, just like the big city itself, illuminating things harshly and distortedly as with searchlights and then disappearing in the glow. A highly nervous, cerebral, illusionist art, and in this respect reminiscent of the music hall and also of film, or at least of a possible, still unrealized film. An art of flashing lights with a perfume of sin and perversity like every nocturnal street in the big city. The precursors are E.T.A. Hoffmann, Breughel, Mallarmé, Seurat, Lautrec, the futurists: but in the density and organization of the overwhelming abundance of sensation, the brutal reality, the Berliners seem new to me. Perhaps one could also include Stravinsky here (Petrushka). Piled-up ornamentation each of which expresses a trivial reality but which, in their sum and through their relations to each other, has a thoroughly un-trivial impact. All round the world war rages and in the center is this nervous city in which so much presses and shoves, so many people and streets and lights and colors and interests: politics and music hall, business and yet also art, field gray, privy counselors, chansonettes, and right and left, and up and down, somewhere, very far away, the trenches, regiments storming over to attack, the dying, submarines, zeppelins, airplane squadrons, columns marching on muddy streets, Hindenburg and Ludendorff, victories; Riga, Constantinople, the Isonzo, Flanders, the Russian Revolution, America, the Anzacs and the poilus, the pacifists and the wild newspaper people. And all ending up in the half-darkened Friedrichstrasse, filled with people at night, unconquerable, never to be reached by Cossacks, Gurkhas, Chasseurs d'Afrique, Bersaglieris, and cowboys, still not yet dishonored, despite the prostitutes who pass by. If a revolution were to break out here, a powerful upheaval in this chaos, barricades on the Friedrichstrasse, or the collapse of the distant parapets, what a spark, how the mighty, inextricably complicated organism would crack, how like the Last Judgment! And yet we have experienced, have caused precisely this to happen in Liège, Brussels, Warsaw, Bucharest, even almost in Paris. That's the world war, all right.

My point is that bias is not advertised by a glowing sign worn around jurors’ necks; we are all guilty of it, because the brain is wired for us to see what we believe, and it usually happens outside of everyone’s awareness. Affective realism decimates the ideal of the impartial juror. Want to increase the likelihood of a conviction in a murder trial? Show the jury some gruesome photographic evidence. Tip their body budgets out of balance and chances are they’ll attribute their unpleasant affect to the defendant: “I feel bad, therefore you must have done something bad. You are a bad person.” Or permit family members of the deceased to describe how the crime has hurt them, a practice known as a victim impact statement, and the jury will tend to recommend more severe punishments. Crank up the emotional impact of a victim impact statement by recording it professionally on video and adding music and narration like a dramatic film, and you’ve got the makings of a jury-swaying masterpiece.45 Affective realism intertwines with the law outside the courtroom as well. Imagine that you are enjoying a quiet evening at home when suddenly you hear loud banging outside. You look out the window and see an African American man attempting to force open the door of a nearby house. Being a dutiful citizen, you call 911, and the police arrive and arrest the perpetrator. Congratulations, you have just brought about the arrest of Harvard professor Henry Louis Gates, Jr., as it happened on July 16, 2009. Gates was trying to force open the front door of his own home, which had become stuck while he was traveling. Affective realism strikes again. The real-life eyewitness in this incident had an affective feeling, presumably based on her concepts about crime and skin color, and made a mental inference that the man outside the window had intent to commit a crime.

Always with the queer regret, blurring all the other summers into a fine nostalgic brew - distilling all the tart sweetnesses into this one, with the sea of music skipping over the time, and the feeling in you very warm and it is our town, we all together, very sweet, all summer light, sometimes almost tearful because it is so moving all the time. The fluid color, the fluid sound, towards its ending... And now I am sitting here crying almost because suddenly I am knowing in my head and feeling in my guts what those words mean when I did not know the full impact of them in the beginning, but merely their mystic beauty.

You can have the perfect message, but it may fall on deaf ears when the listener is not prepared or open to listening. These listening "planes" were first introduced by the American composer Aaron Copland (1900-1990) as they pertain to music . . . 1. The Sensual Plane: You’re aware of the music, but not engaged enough to have an opinion or judge it. 2. The Expressive Plane: You become more engaged by paying attention, finding meaning beyond the music, and noticing how it makes you feel. 3. The Musical Plane: You listen to the music with complete presence, noticing the musical elements of melody, harmony, pitch, tempo, rhythm, and form.

Idealism, particularly idealism of a cultural or artistic kind, has become such a rare phenomenon in the contemporary world that it may often be hard for us to feel our way into the spiritual background of much of the art, music, and literature that burst upon an unsuspecting European public in the last years of the 19th century and the early years of the 20th. It has become fashionable to suppose that what we have come to term variously “modern art”, “modern music”, or simply “modernism” took its origins in some collective artistic rejection of the styles and norms of the past, and in an adoption of a sceptical and anti-idealistic world view. While it is true that the “iconoclastic” movements of expressionism, futurism, dada, and early surrealism relied for much of their public impact on shock-tactics and a philosophy of ‘making it new’, a close study of their artistic programmes shows that their primary concern was less the destruction of the past than the reinterpretation of both past and present in terms of a visionary future, a hoped-for world in which the artist, like some divinely inspired child, would endow mankind with a new innocence, exorcising from it the demons of war, revolution, technology, and social organisation. Such a transformed humanity would be a worthy successor to the mankind of previous ages

In terms of cultural impact, one parallel for “Earth Song” is John Lennon’s classic, “Imagine.” Both songs became global anthems with instantly identifiable piano hooks and choruses. Both ask listeners to try to care for the world we have, rather than simply be placated by the thought of an afterlife. Yet where “Imagine” makes a subdued, elegant statement, “Earth Song” is epic, intense, and visceral. This, indeed, is one reason “Imagine” is more palatable to the average music listener. Its radical ideas can be softened by its ethereal sound. “Earth Song,” in contrast, seeks to shatter indifference, as it demands accountability. Radio can’t do it justice. It is a song that was created to blast out of speakers if it couldn’t be seen in person.

Cultural artifacts like clothing, music, or speech are aspects of indigenous culture that are generally not considered by teachers to be related to education, but are one of the first things a teacher identifies when interacting with neoindigenous students. The wrong clothing or speech will get neoindigenous students labeled as unwilling to learn and directly impact their academic lives much in the way that it affects the indigenous. For example, if one were to ask the average person in the United States, Australia, or New Zealand to describe the indigenous peoples in their respective countries, the responses would probably be very similar, and include exoticized references to scanty clothing, “odd” living arrangements, “strange” speech, “weird” customs, and “primitive” art and music.

If human beings flourish from their inner core rather than in the realm of impact and results, then the inner work of learning is fundamental to human happiness, as far from pointless wheel spinning as are the forms of tenderness we owe our children or grandchildren. Intellectual work is a form of loving service at least as important as cooking, cleaning, or raising children; as essential as the provision of shelter, safety, or health care; as valuable as the delivery of necessary goods and services; as crucial as the administration of justice. All of these other forms of work make possible, but only possible, the fruits of human flourishing in peace and leisure: study and reflection, art and music, prayer and celebration, family and friendship, and the contemplation of the natural world.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multicellular ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. But we`ll be gone by then, as will our collective and collected memory. I think part of what scares me about the end of humanity is the end of those memories. I believe that if a tree falls in the woods and no one is there to hear it, it does make a sound. But if no one is around to play Billie Holiday records, those songs won’t make a sound anymore. We’ve caused a lot of suffering, but we’ve also caused much else. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

The iPod, like the Walkman cassette player before it,C allows us to listen to our music wherever we want. Previously, recording technology had unlinked music from the concert hall, the café, and the saloon, but now music can always be carried with us. Michael Bull, who has written frequently about the impact of the Walkman and the iPod, points out that we often use these devices to “aestheticize urban space.”4 We carry our own soundtrack with us wherever we go, and the world around us is overlaid with our music. Our whole life becomes a movie, and we can alter the score for it over and over again: one minute it’s a tragedy and the next it’s an action film. Energetic, dreamy, or ominous and dark: everyone has their own private movie going on in their heads, and no two are the same. That said, the twentieth-century philosopher Theodor Adorno, ever the complainer, called this situation “accompanied solitude,” a situation where we might be alone, but we have the

For variety, she threw in the occasional thunderclap of real anger. I never knew when they were coming or what was going to provoke them. Spending time with her was like inviting an unexploded bomb to lunch or on holiday with you: I was always on edge, wondering what was going to set her off. Once it was the fact that I’d bought a kennel for the dogs we kept at the house in Nice. Once it was Billy Elliot, apparently the only thing I’d done in about ten years that she thought was any good. The musical had really taken off in a way that no one involved in it had predicted, not just in the UK but in countries where people had barely heard of the Miners’ Strike or the impact of Thatcherism on the British manufacturing industry: the story at its heart turned out to be universal. Mum went to see it in London dozens of times, until one afternoon, when the box office misplaced her tickets for the matinee and took five minutes to find them, something she decided I had deliberately, meticulously planned in an attempt to humiliate her.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multi cellar ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

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

Violent atrocities by teenagers against one another have become the stuff of headlines: at Columbine High School in Colorado; in Tabor, Alberta; in Liverpool, England. But to focus on the grim statistics and media stories of bloody violence is to miss the full impact of children's aggression in our society. The most telling signs of the groundswell of aggression and violence are not in the headlines but in the peer culture — the language, the music, the games, the art, and the entertainment of choice. A culture reflects the dynamics of its participants, and the culture of peer-oriented children is increasingly a culture of aggression and violence. The appetite for violence is reflected in the vicarious enjoyment of it not only in music and movies but in the schoolyards and school halls. Children fuel hostilities among their peers rather than defuse them, encourage others to fight rather than dissuade them from violence. The perpetrators are only the tip of the iceberg. In one schoolyard study, researchers found that most schoolchildren were likely to passively support or actively encourage acts of bullying and aggression; fewer than one in eight attempted to intervene. So ingrained have the culture and psychology of violence become that peers in general expressed more respect and liking for the bullies than for the victims.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

Still, I think that one of the most fundamental problems is want of discipline. Homes that severely restrict viewing hours, insist on family reading, encourage debate on good books, talk about the quality and the morality of television programs they do see, rarely or never allow children to watch television without an adult being present (in other words, refusing to let the TV become an unpaid nanny), and generally develop a host of other interests, are not likely to be greatly contaminated by the medium, while still enjoying its numerous benefits. But what will produce such families, if not godly parents and the power of the Holy Spirit in and through biblical preaching, teaching, example, and witness? The sad fact is that unless families have a tremendously strong moral base, they will not perceive the dangers in the popular culture; or, if they perceive them, they will not have the stamina to oppose them. There is little point in preachers disgorging all the sad statistics about how many hours of television the average American watches per week, or how many murders a child has witnessed on television by the age of six, or how a teenager has failed to think linearly because of the twenty thousand hours of flickering images he or she has watched, unless the preacher, by the grace of God, is establishing a radically different lifestyle, and serving as a vehicle of grace to enable the people in his congregation to pursue it with determination, joy, and a sense of adventurous, God-pleasing freedom. Meanwhile, the harsh reality is that most Americans, including most of those in our churches, have been so shaped by the popular culture that no thoughtful preacher can afford to ignore the impact. The combination of music and visual presentation, often highly suggestive, is no longer novel. Casual sexual liaisons are everywhere, not least in many of our churches, often with little shame. “Get even” is a common dramatic theme. Strength is commonly confused with lawless brutality. Most advertising titillates our sin of covetousness. This is the air we breathe; this is our culture.

The hard part, evolutionarily, was getting from prokaryotic cells to eukaryotic ones, then getting from single-celled organisms to multicellular ones. Earth is around 4.5 billion years old, a timescale I simply cannot get my head around. Instead let’s imagine’s Earth’s history as a calendar year, with the formation of Earth being January 1 and today being December 31 at 11:59pm. The first life on Earth emerges around February 25. Photosynthetic organisms first appear in late March. Multicellular life doesn’t appear until August or September. The first dinosaurs like eoraptor show up about 230 million years ago, or December 13 in our calendar year. The meteor impact that heralds the end of the dinosaurs happens around December 26. Homo sapiens aren’t part of the story until December 31 at 11:48 pm. Agriculture and large human communities and the building of monolithic structures all occur within the last minute of this calendar year. The Industrial Revolution, two world wars, the invention of basketball, recorded music, the electric dishwasher, and vehicles that travel faster than horses all happen in the last couple of seconds. Put another way: It took Earth about three billion years to go from single-celled life to multicellular life. It took less than seventy million years to go from Tyrannosaurus rex to humans who can read and write and dig up fossils and approximate the timeline of life and worry about its ending. Unless we somehow manage to eliminate all multicellular life from the planet, Earth won’t have to start all over and it will be okay--- at least until the oceans evaporate and the planet gets consumed by the sun. I know the world will survive us – and in some ways it will be more alive. More birdsong. More creatures roaming around. More plants cracking through our pavement, rewilding the planet we terraformed. I imagine coyotes sleeping in the ruins of the homes we built. I imagine our plastic still washing up on beaches hundreds of years after the last of us is gone. I imagine moths, having no artificial lights toward which to fly, turning back to the moon.

In Being and Event and elsewhere throughout his philosophy, Alain Badiou grants love an evental status, locating it among what he calls the four truth procedures. This inclusion of love seems anomalous. In comparison with the other three truth procedures, love doesn’t fit in. When one reads Being and Event for the first time, one can’t help but feel that the conception of the love event represents a philosophical misstep on Badiou’s part, a case where he allowed his own private emotions to have an undue impact on his philosophy. Though Badiou may like the feeling of being in love, this hardly justifies its status as a truth procedure. Unlike politics, art, and science, love seems to be an isolated phenomenon. A love event—the relationship of Jill and Dave, for instance—doesn’t have the same world-historical impact as the French Revolution or the invention of twelve-tone music (examples of the political and artistic event from Badiou). Even a love event that garners great attention, like the affair between Héloïse d’Argenteuil and Peter Abélard, fails to produces the type of substantive changes accomplished by the storming of the Bastille. But Badiou classifies love alongside the other truth procedures for its disruptiveness of everyday life and—which is in some sense to say the same thing—for its ability to arouse the subject’s passion. Love may be an anomalous truth procedure, but perhaps this is because it is the paradigmatic truth procedure. Love’s disruption of our everyday life is much more palpable than that of politics, art, or science. The subject in love feels as if it can’t exist without the beloved, while even Galileo himself didn’t feel this strongly about the scientific event in which he participated. It is much easier to imagine subjects dying for the sake of love than for the sake of the twelve-tone system of modern music. This is because love has a disruptiveness that transcends the other truth procedures. The cynical approach to love fails to register this disruptiveness. According to Badiou, the cynic contends that “love is only a variant of generalized hedonism,” and this cynicism enables one to avoid “every profound and authentic experience of otherness from which love is woven.” Dismissing the reality of love—seeing it as just a capitalist plot—is a way of avoiding the transformation that it demands, but it also leaves one’s existence bereft of significance. The passion that love arouses impels subjects to continue to go on.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

It was marijuana that drew the line between us and them, that bright generational line between the cool and the uncool. My timidity about pot, as I first encountered it in Hawaii, vanished when, a few months later, during my first year of high school, it hit Woodland Hills. We scored our first joints from a friend of Pete's. The quality of the dope was terrible -- Mexican rag weed, people called it -- but the quality of the high was so wondrous, so nerve-end-opening, so cerebral compared to wine's effects, that I don't think we ever cracked another Purex jug. The laughs were harder and finer. And music that had been merely good, the rock and roll soundtrack of our lives, turned into rapture and prophecy. Jimi Hendrix, Dylan, the Doors, Cream, late Beatles, Janis Joplin, the Stones, Paul Butterfield -- the music they were making, with its impact and beauty amplified a hundredfold by dope, became a sacramental rite, simply inexplicable to noninitiates. And the ceremonial aspects of smoking pot -- scoring from the million-strong network of small-time dealers, cleaning "lids," rolling joints, sneaking off to places (hilltops, beaches, empty fields) where it seemed safe to smoke, in tight little outlaw groups of three or four, and then giggling and grooving together -- all of this took on a strong tribal color. There was the "counterculture" out in the greater world, with all its affinities and inspirations, but there were also, more immediately, the realignments in our personal lives. Kids, including girls, who were "straight" became strangers. What the hell was a debutante, anyway? As for adults -- it became increasingly difficult not to buy that awful Yippie line about not trusting anyone over thirty. How could parents, teachers, coaches, possibly understand the ineluctable weirdness of every moment, fully perceived? None of them had been out on Highway 61.

A 1978 study added support for the finding that the more stimuli present while you are learning, the deeper information is processed in your brain. There were two groups that had two study sessions. One group studied vocabulary in two different rooms, and the other studied vocabulary in the same room twice. The first group showed far better recall. What does this mean for you? You should change locations as frequently as possible while learning the same information. If you can’t change your scenery completely, change what’s on your desk, the music you are listening to – anything that impacts any of your five senses. The more change of stimuli, the more roots the information will take to your brain.

In the early days of exponentials, disruptions were of the Kodak variety. Companies that made digitizable goods and services—the publishing business, the music business, the memory business, etc.—were threatened.

answer. Donald’s dysfunctional belief was related to Janine’s, but he’d held on to it for much longer—a life of responsible and successful work should make him happy. It should be enough? But Donald had another dysfunctional belief: that he couldn’t stop doing what he’d always done. If only the guy in the mirror could have told him that he was not alone, and he did not have to do what he had always done. In the United States alone, more than thirty-one million people between ages forty-four and seventy want what is often called an “encore” career—work that combines personal meaning, continued income, and social impact. Some of those thirty-one million have found their encore careers, and many others have no idea where to begin, and fear it’s too late in life to make a big change. Dysfunctional Belief: It’s too late. Reframe: It’s never too late to design a life you love. Three people. Three big problems. Designers Love Problems Look around you. Look at your office or home, the chair you are sitting on, the tablet or smartphone you may be holding. Everything that surrounds us was designed by someone. And every design started with a problem. The problem of not being able to listen to a lot of music without carrying around a suitcase of CDs is the reason why you can listen to three thousand songs on a one-inch square object clipped to your shirt. It’s only because of a problem that your phone fits perfectly in the palm of your hand, or that your laptop gets five hours of battery life, or that your alarm clock plays the sound of chirping birds. Now, the annoying sound of an alarm clock may not seem like a big problem in the grand scheme of things, but it was problem

A journey inward may end in defeat For life as we know it was made by machines

Similar to music, your words have a profound impact on your energy. If you speak with a positive, uplifting attitude, you’ll find wonderful opportunities coming your way. If you constantly complain about the bad things around you or the negatives in your life, you’ll appear to attract challenges.

The Power of Myth For screenwriting, Jon recommends The Writer’s Journey by Christopher Vogler, which he used to determine if Swingers was structurally correct. He is also a big fan of The Power of Myth, a video interview of Joseph Campbell by Bill Moyers. “With The Jungle Book, I really am going back and doubling down on the old myths.” TF: We recorded our podcast during the shooting of The Jungle Book, in his production office next to set. Months later, The Jungle Book was the #1 movie in the world and currently has a staggering 95% review average on Rotten Tomatoes. Long-Term Impact Trumps Short-Term Gross “Thanks to video, and later DVD and laser disc, everybody had seen this film [Swingers], and it had become part of our culture. That’s when I learned that it’s not always the movie that does the best [financially] that has the most impact, or is the most rewarding, or does the most for your career, for that matter.” Another Reason to Meditate “In the middle of [a meditation session], the idea for Chef hit me, and I let myself stop, which I don’t usually do, and I took out a pad. I scribbled down like eight pages of ideas and thoughts, [and then I] left it alone. If I look back on it, and read those pages, it really had 80% of the heavy lifting done, as far as what [Chef] was about, who was in it, who the characters were, what other movies to look at, what the tone was, what music I would have in it, what type of food he was making, the idea of the food truck, the Cuban sandwiches, Cuban music . . . so it all sort of grew out from that.

These things have a huge impact on how music is experienced by listeners; they can make one performance profoundly moving, another dull or ridiculous or unintelligible, even though the notes are the same.

Over a period of time, based on how much mental energy you invest in the act of listening and reacting to music, it will impact your being and identity, the type of person you are, an amalgamation of beliefs, habits, routines, preferences, choices, and of course, playlists.

While it is tempting to suggest the meeting impacted Jeff’s thinking, only Jeff can speak to that. What we can say is what Jeff did and did not do afterward. What he didn’t do (and what many companies would have done) is to kick off an all-hands-on-deck project to combat this competitive threat, issue a press release claiming how Amazon’s new service would win the day, and race to build a copycat digital music service. Instead, Jeff took time to process what he learned from the meeting and formed a plan. A few months later, he appointed a single-threaded leader—Steve Kessel—to run Digital, who would report directly to him so that they could work together to formulate a vision and a plan for digital media. In other words, his first action was not a “what” decision, it was a “who” and “how” decision.

The true success of a music is measured by how far it travels from where it was created and how many people it impacts, but sometimes the fact that it just touches the lives of a few people makes it very successful in its own right!

And their voices had a keenly musical quality. It wasn't that the animal people barked out literal instrumental notes or sand when they spoke. Rather, their words ignited emotional responses Nina had previously only experienced through music. When they were worried, she experienced the squeals of violins, the quick-heartbeat thrum of a thriller soundtrack. Risk and Reign's bickering had the impact of a rattling gourd and snare drum. Oli's hopeful questions were reminiscent of the lo-fi hip-hop Nina played when she studied.

we’ve learned anything recently, it’s that life is short and its impact isn’t measured in years. Buy a piano, Eason. Write the songs. Be the star. Flip the entire music industry on its head.

I was supposed to pick up my brother, Jace, from some party he was stuck at, but I’d been at work. I’d texted Randy to see if he could pick Jace up, but he didn’t answer. So, I called Sarah and she said she would, and on their way home, a drunk driver slammed into them from the side. She died on impact. I blamed myself for asking her to pick up Jace. Jace blamed himself for being at the party. Randy blamed himself for losing his baby sister. All three of us had dealt with the lost of Sarah differently. I’d drowned myself in my music and my studies. Jace had gone on to use drugs and sell them, trying to stop himself from remembering what it had been like in that car. He’d watched her die but never spoke of it. And Randy… He had pretty much become a wild guy who would try anything once.

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BARTON CENTRE, 912, 9th Floor, Mahatma Gandhi Rd, Bengaluru, Karnataka - 560 001 Phone Number +91 8884400919 Situated off the southeast shore of Africa, Mauritius is a shocking island country in the Indian Sea known for its perfectly clear waters, white sandy sea shores, and lavish green scenes. The volcanic island flaunts pleasant coral reefs and a different scope of verdure. Culture and Language Mauritius is a mixture of societies, with impacts from Indian, African, Chinese, and European practices. Local people communicate in a blend of dialects, with English, French, Creole, and Hindi being ordinarily utilized. This social variety is reflected in the island's food, music, and celebrations. 2. Outline of Mauritius Visit Bundles Sorts of Visit Bundles Accessible Mauritius Tour Package From Bangalore offer various choices, from extravagant ocean side hotels to daring eco-the travel industry encounters. Whether you're searching for a heartfelt escape, a family get-away, or a performance experience, there's a bundle to suit each voyager's inclinations. Irregularity and Best Times to Visit The best opportunity to visit Mauritius is from May to December when the weather conditions is cooler and drier, ideal for investigating the island's attractions and appreciating outside exercises. Top vacationer season is from October to April, so reserving your visit bundle ahead of time is suggested. 3. Features of a Mauritius Tour Package From Bangalore Flight Subtleties and Travel Length Departures from Bangalore to Mauritius normally take around 7 to 8 hours, with non-stop flights accessible for a helpful travel insight. Some visit bundles might incorporate flight appointments and air terminal exchanges for a problem free excursion. Considerations and Prohibitions in the Bundle Normal considerations in Mauritius visit bundles are convenience, dinners, touring visits, and exercises, for example, water sports and spa medicines. Rejections might shift yet frequently incorporate travel protection, visa charges, and individual costs. 4. Convenience and Transportation Choices Well known Lodging Decisions in Mauritius Mauritius offers a scope of facilities, from extravagance resorts disregarding the sea to shop lodgings settled in tropical nurseries. Famous decisions remember ocean front pieces of land for Terrific Baie, extravagance withdraws in Beauty Female horse, and eco-accommodating hotels in Dark Waterway Canyons Public Park. Transportation inside Mauritius Transportation choices in Mauritius incorporate taxicabs, rental vehicles, and public transports for getting around the island. Many visit bundles give air terminal exchanges and may likewise incorporate confidential transportation for touring visits and journeys. 5. Energizing Exercises and Attractions in Mauritius Ocean side Exercises and Water Sports Mauritius is a heaven for ocean side darlings and daredevils the same. From lazing on the immaculate sandy sea shores to enjoying an assortment of water sports, for example, swimming, scuba jumping, and parasailing, there is no deficiency of energy here. Whether you're a carefully prepared surfer or a fledgling hoping to get a few waves, Mauritius offers something for everybody. Investigating Nature and Untamed life Nature fans will be in wonderment of Mauritius' different scenes, from lavish woods and cascades to shocking greenhouses. Investigate the Dark Stream Crevasses Public Park to detect extraordinary widely varied vegetation, or visit the Seven Shaded Earths in Chamarel for a characteristic miracle. Try not to botch the opportunity to experience monster turtles at the Île aux Aigrettes nature hold for a really remarkable encounter. 6. Test Schedule for a Mauritius Visit from Bangalore

Recreation for Seniors: Enhancing Physical, Emotional & Social Well-Being Introduction: Recreation for senior citizens is a range of activities designed to promote physical, emotional, and social well-being. These activities focus on gentle exercise, cognitive stimulation, and fostering social connections. Some of these activities include yoga, arts & craft, gardening, music & dance, games and group outings. Importance: Recreation for senior citizens is important as it directly impacts their overall well-being in several ways: Physical Health: Engaging in physical activities, even low-impact ones, helps seniors maintain mobility, balance, strength, and cardiovascular health, reducing the risk of falls and chronic diseases. Mental Health: Recreational activities stimulate cognitive functions, which can help delay the onset of dementia and Alzheimer’s. They also improve memory, concentration, and problem-solving skills. Emotional Well-being: Participating in enjoyable activities helps reduce feelings of loneliness, depression, and anxiety, fostering a sense of belonging, purpose and joy in daily life. Conclusion: Recreation enriches seniors’ lives by offering opportunities for creativity, learning, and fun. It provides structure to their days and gives them something to look forward to, leading to a happier, more fulfilling lifestyle. Why Second Innings House: At Second Innings House, we know how important recreational activities are for seniors. We offer a range of fun and engaging programs that help our residents stay active, happy, and connected. Our activities aren’t just for our residents – other seniors from the community are welcome to join in through a simple subscription plan at our Senior Social Centre. Whether it’s yoga, arts, or social games, every activity is designed to improve well-being and create a sense of belonging. Join us at Second Innings House Senior Social Centre, where seniors can enjoy each day, stay connected, and live life to the fullest! Second Innings House, a home away from home!

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What you consume is what you create. Reader becomes writer, listener becomes speaker, music lover becomes singer, driver becomes fleet owner, it's the cycle we're bound to.

Let’s be even more honest. While we might like to think we have smothered everyone with one tasty culture, what we have actually accomplished is closer to the Weird Way of making and eating a salad. We like ourselves, our way of thinking, our music, and our . . . our everything. So we separate all the difference and differents and scatter them across the towns and cities so that each group worships on its own. Churches for men and not really for women, churches for the wealthy and churches for the middle class and churches for the poor, churches for whites and Mexican Americans and African Americans and Asian Americans and Indian Americans. Churches for liberals and churches for fundamentalists, churches for those who follow Calvin, Wesley, Luther, Aquinas, Menno — or for those who follow Hybels, Warren, Stanley, Hamilton, Chandler, or Driscoll. Sunday morning then becomes an exercise in cultural and spiritual segregation, and this has a colossally important impact on the Christian life itself!

In late 2008, one of my business partners, Clayton Christensen offered his opinion that the recession would have an “unmitigated positive impact on innovation” because “when the tension is greatest and resources are most limited, people are actually a lot more open to rethinking the fundamental way they do business.” This theory is supported by the Kaufmann Foundation statistic that “51 percent of the Fortune 500 companies began during a recession or bear market or both.” Whether launching a business or pursuing a dream, there are many high-profile instances in which a lack of resources ultimately proved to be a boon, rather than a bane. If we dig a bit, each of us can uncover examples among friends and family, and ourselves. Would most children have as many opportunities as they do in sports, music, or other extracurricular activities without parents, mothers in particular, who are accomplished at bartering as a way to stretch limited family budgets? Would kids have as many chances to explore their interests if their parents weren’t so adept at arranging for carpooling, chaperoning, and borrowing, thus enabling their kids to participate? Without the constraints of time, money, and health, would the online retailer Shabby Apple exist? (For a reminder of how that business came to be, see chapter 5.) If my parents could have paid for college, would I have caught an early glimpse of corporate life during the Silicon Valley heyday? Would I have ever set foot on Wall Street had I not needed to work to put my husband through school? All of us have had the opportunity to bootstrap if we look hard enough. Men seem to know how to do this in the business world: 88 percent of the founders of Entrepreneur magazine’s Hot 500 were men. But I wonder if women aren’t better at bootstrapping than we think we are. Chronically under resourced (whether due to the gender pay gap or ceding our resources to conform to societal expectations), women continually feel the tension of having too little budget and too little time. Because of this tension, we are expert at rethinking how to get things done. Many of us know how to turn scarcity into opportunity.

Outer influences and distractions Consider the power of external influences to condition your life experience. Spend a day watching how what you encounter impacts your attitude and spirit. Pay attention to what is usually mere background noise. Probe all sights, sounds, and touches as life swirls about. Listen to the radio carefully. Study the comments on talk shows. Listen to popular music lyrics and rhythms. Pay attention to words and worldview, tones and timbre. What and how do you feel as a result? Watch people at a shopping mall. How many appear trim and in vibrant health? How many look happy? What are people wearing and how are they groomed? What does their appearance suggest about your community’s values? Does the appearance of others affect how you feel? Chat with coworkers. What comes up about the economy, government, and company management? Suggest changes in attitudes and actions for more happiness or productivity. What kind of responses do they give you? Look at Internet discussions and news. What is the tone and logic of the posts? Does the commenters’ passion reflect their intellectual depth and degree of knowledge? How many stories are negative and how many are positive? Could any of the negative stories be written with a positive spin and still remain true? How do you feel about what you observe? Is it possible that even if you had not been paying close attention, those experiences out on the margin of awareness might have affected your mood or attitude?

To employ a cliché, Scott truly was a team player of the highest caliber whose individual contributions to jazz improvisation and bass playing are still having a major impact some forty-five years after his death. I

Since hip hop emerged from the South Bronx in the 1970s, it has become an international, multi-billion-dollar phenomenon. It has grown to encompass more than just rap music. Hip hop has created a culture that incorporates ethnicity, art, politics, fashion, technology and urban life.” This debunks the widely accepted argument that the genre is inherently divisive. With so many factors converging to create such an intricate, informative and multi-faceted genre, whose history and impact have bridged barriers between artist and society, it is not too complicated an endeavor to understand that its relevance repudiates its notorious reputation.

Think of the times in your life when you have been deeply passionate about something. Whether it is for your family, a cause, a person, an adventure, a hobby, a career, a love for music, or even going to the beach—your passion for it helps you tap into your unique personal power to live and love your life out loud.

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

Novel-reading is indeed unusually private, unusually personal, unusually intimate. It doesn’t happen out there, in front of our eyes; it happens in here, in our heads. The form’s relationship to time is also unique. The novel isn’t static, like painting and sculpture, but though it tells a story, it doesn’t unfold in an inexorable progression, like music, dance, theater, or film. The reader, not the clock, controls the pace. The novel allows you the freedom to pause: to savor a phrase, contemplate a meaning, daydream about an image, absorb the impact of a revelation—make the experience uniquely your own.

So when you see an old lady wearing a beehive, it’s because it’s from a time when she was most happy. I think that’s true about music as well. There is a period from 1986 to 1996 where it’s impossible to articulate the impact that new music had on my life. There was so much stuff coming out during that time that I was obsessed with, like the Dead Kennedys and the Breeders. It isn’t as simple as saying that’s when I was happiest, but it was a time when music had an emotional impact on me. When I was putting up the 43 Folders site, I had The Meadowlands by The Wrens on repeat for over a week and it became like a good friend.

What valuable, transferable twenty-first century skills might music instruction instill in students, regardless of career path?

Beyond jobs, what life aptitudes should music instruction nurture? How can it help solve challenges that face students and their communities both today and tomorrow?

I wanted to collide with the times and create a voice that had musical, social and cultural impact.

Impactful music marketing and branding done by Starlight PR would enable the upcoming music artists to get noticed by major A&R labels. So they can get new opportunities for creating popular music.

Hanying Chen, a talented performer and philanthropist, uses her platform to spread joy and inspire change. With a love for music and a desire to make a positive impact, she dreams of directing her films and using her art to uplift others. Whether traveling the globe or enjoying quiet moments at home, her compassion and creativity shine through.

In Shakespeare’s London, most plays were only performed a handful of times before being discarded and replaced with ‘the latest thing’. This provides a stark contrast to the Royal Shakespeare Company’s schedule in current times. Shakespeare’s theatre, just like the rock music of Dylan’s decades, was inherently influenced by changes in fashion and style. Relentless demands for novelty and hits drove both industries and this had an impact on our two artists in fundamental ways. Just as Dylan went after the latest, but deeply unpleasant, studio sound in the mid-Eighties and jumped, or rather sank, into the pop video market, so Shakespeare had to move into whatever area the current fashion dictated. If plays featuring prostitutes and witches were in demand, then that is what was written. Popular entertainers need to remain fashionable.

Parents aspire for their children to excel academically and develop their talents, but mainstream celebrities often encourage them to prioritize drug consumption and mindless entertainment over educational pursuits. Parents hope for their daughters to maintain their purity and innocence, yet idols continuously promote looseness and self-objectification as virtuous behaviors. Parents also want their children to prioritize their health and to lead a wholesome lifestyle, yet modern music celebrities often glamorize drug use, portraying it as a masculine and cool pursuit. Alternatively, parents often aim to instill a growth mindset and a strong work ethic in their children. Yet, the musical icons often glorify hedonist pursuits and short-term gratification. In light of these toxic messages incessantly inundating the airwaves, it is hardly surprising to see so many individuals leading self-destructive lives or harboring toxic misconceptions about life’s true essence. They have unwittingly followed the wrong role models, heeded the wrong idols, and are now grappling with the consequences of such misguided influence.

In the car on the way to collect Syd, someone said ‘Shall we pick up Syd?’ and the response was ‘No, fuck it, let’s not bother’. To recount it as baldly as this sounds hardhearted to the point of being cruel – it’s true. The decision was, and we were, completely callous. In the blinkered sense of what we were doing, I thought Syd was simply being bloody-minded and was so exasperated with him that I could only see the short-term impact he was having on our desire to be a successful band.

Sometimes I wonder whether my whole life has been a singular quest for beauty. Beauty in mathematics, and beauty in literature and in music. I feel that creating mathematics and writing fiction are closely related. While authors are poets in the universe of language, mathematicians seek the poetry in the language of the universe. The German mathematician Karl Weierstrass once wrote that any great mathematician must also be a poet. When I was young, several people told me that I’d be a poet when I grew up. So in a way, it feels as if I’ve tried to investigate whether the reverse implication is true: whether every poet must also be a great mathematician. I still don’t know the answer, but I doubt that this is the case. Over the past few years, I’ve started to dream of writing a novel. I’ve marveled at how the enjoyment of hearing a piece of music often gets stronger the better you know the piece, while a novel rarely has the same impact on third reading. Is it because music relies on recognition, while literature relies on the unexpected? Or has it more to do with the structure of the music, how the themes reflect each other so that the listener discovers ever new connections? The way the interplay of colors in a painting can fluctuate in different light, so that the painting continually changes? If so, it must be possible to write a novel in the same way. A novel that gets richer every time you read it, because you discover new connections that were previously invisible. A novel that carries something of the eternal beauty of music and mathematics within it. One of the most alluring things about mathematics is perhaps the feeling of being able to uncover unshakeable truths. And that terms such as truth and beauty obtain a kind of objectivity, because mathematicians have a shared understanding of what constitutes a valid proof and what is aesthetically beautiful. The disadvantage is that the truths of mathematics don’t say anything about what is true in the world beyond mathematics itself.

The band could not have known that the Alvin brothers were already well aware of Los Lobos, and had been for more than five years, for they had seen the band’s TV debut on La Cultura in 1975. “The first time we had ever heard of them,” says Dave Alvin, “Phil and I were at home, and we watched a thing on the local PBS station, channel 28. It was a half-hour documentary on this band from East L.A. that played traditional acoustic Mexican music from all of the various states.” Phil Alvin adds that the Lobos’ example in fact had an impact on the genre-defying way in which the Blasters conceived of their own music: “I remember watching it and really being just impressed, particularly about the way they talked about Mexican music and the variety of it. When we went down to Rockin’ Ronnie’s and he kept pressuring us to say we played rockabilly and stuff like that, I remember thinking of those guys when I [told him]

There is a very fine line between ‘feeling inspired’ and ‘getting jealous’. Both have an extreme impact. The choice, my friend, is yours.

This show was the most ambitious thing I’d done. Although the idea was simple, the fact that every piece of gear had to come onstage for tech check in the afternoon and then be removed again before the show was a lot of work for the crew. But the show was a success; the transparency and conceptual nature of its structure took away nothing from the emotional impact. It was tremendously gratifying. I didn’t perform for a while after that. It was hard to top that experience. I directed a feature film, married, and had a child, and I wanted to be around for as much of my daughter’s early years as I could. I continued to make records and launch other creative endeavors, but I didn’t perform.

In the long run there is a greater value for humanity in empowering folks to make and create than there is in teaching them the canon of great works. Nothing against those great works, but maybe they have been prioritized out of proportion to their lasting value. I have discovered many of them at various points in my life, and yes, they have had a profound impact. In my opinion, though, it’s more important that someone learn to make music, draw, photograph, write, or create in any form, regardless of the quality, than it is for them to understand and appreciate Picasso, Warhol, or Bill Shakespeare—to say nothing of opera as it is today.

Impact of the mobile phone While 2G and 3G basic and feature phones were tremendously important for people to open their worlds, be able to communicate whenever and wherever they wanted and made life so much easier, 4G enabled the smartphone to revolutionize our lives in ways that go well beyond how we communicate. Besides calling and texting, almost 4 billion people around the world are connected to the mobile internet and use their devices to send money, navigate, book cab rides, follow the news, learn a new language, watch movies, listen to music, play video games, memorialize vacations, and, not least of all, participate in social media.