Musicals Senior Quotes

You take a deep breath and you walk through the doors. It's the morning of your very first day. You say hi to your friends you ain't seen in a while, try and stay out of everybody's way. It's your freshman year and your gonna be here for the next four years in this town. Hopin' one of those senior boys will wink at you and say, "You know I haven't seen you around before." 'Cause when you're fifteen and somebody tells you they love you, you're gonna believe them. And when you're fifteen, feelin' like there's nothin' to figure out, but, count to ten, take it in. This is life before you know who you're gonna be. Fifteen.

Suddenly being her age seemed great. She didn't have to look perfect. Hooray And think of all the senior discounts she had to look forward to not to mention Social Security Medicare and Medicaid. So what if she was afraid of getting old Big whoopdedoowho wasn't She wasn't alone everybody her age was in the same boat. She was going to relax and just let herself get older. Who cared if she wore twoinch heels instead of 3andahalf inch heels her feet hurt and not only that she was going to have a piec eof cake once in a while and she wasn't going to go anywhere she didn't feel like going anymore either. Bring on the Depends And the bunion pads and the Metamucil. And if she liked pretty music and old movies so what She wasn't hurting anyone. Hazel had always said "If you're still breathing you're ahead of the game." And she'd been right. Life itself was something to look forward to and so for whatever time she had left she was going to enjoy every minute wrinkles and all. What a concept

Anna’s parents were staunch Wee Frees, and she wasn’t even allowed to wear face powder, never mind attend a dance. Music itself was not allowed, except on Sundays, and then it had to be for the sake of worship only, and sung unadorned. The senior McKenzies were so strict they confined their cockerel under a bushel basket on the Sabbath so he wouldn’t get up to anything untoward with the hens.

We long for experiences “of profound connection with others,” he writes, “of deep understanding of natural phenomena, of love, of being profoundly moved by music or tragedy, or doing something new and innovative.” Just as important, we long for esteem and pride, “a self that happiness is a fitting response to.” Implicit in Nozick’s experiment is the idea that happiness should be a by-product, not a goal. Many of the ancient Greeks believed the same. To Aristotle, eudaimonia (roughly translated as “flourishing”) meant doing something productive. Happiness could only be achieved through exploiting our strengths and our potential. To be happy, one must do, not just feel.

In fact, she [Pamela Flitton] seemed to prefer 'older men' on the whole, possibly because of their potentiality for deeper suffering. Young men might superficially transcend their seniors in this respect, but they probably showed less endurance in sustaining that state, while, once pinioned, the middle-aged could be made to writhe almost indefinitely.

He was already a legend but still doing all this for us...That positivity was so overwhelming. And since he has so much more seniority in the music industry, we learned a lot from him. Things like, what attitude to have as artists when approaching fans. He's a great singer, of course, but it was also the way he was onstage and how he felt toward the members of his band that was so awesome.

MY FIRST ASSIGNMENT AFTER BEING ORDAINED as a pastor almost finished me. I was called to be the assistant pastor in a large and affluent suburban church. I was glad to be part of such an obviously winning organization. After I had been there a short time, a few people came to me and asked that I lead them in a Bible study. “Of course,” I said, “there is nothing I would rather do.” We met on Monday evenings. There weren’t many—eight or nine men and women—but even so that was triple the two or three that Jesus defined as a quorum. They were eager and attentive; I was full of enthusiasm. After a few weeks the senior pastor, my boss, asked me what I was doing on Monday evenings. I told him. He asked me how many people were there. I told him. He told me that I would have to stop. “Why?” I asked. “It is not cost-effective. That is too few people to spend your time on.” I was told then how I should spend my time. I was introduced to the principles of successful church administration: crowds are important, individuals are expendable; the positive must always be accented, the negative must be suppressed. Don’t expect too much of people—your job is to make them feel good about themselves and about the church. Don’t talk too much about abstractions like God and sin—deal with practical issues. We had an elaborate music program, expensively and brilliantly executed. The sermons were seven minutes long and of the sort that Father Taylor (the sailor-preacher in Boston who was the model for Father Mapple in Melville’s Moby Dick) complained of in the transcendentalists of the last century: that a person could no more be converted listening to sermons like that than get intoxicated drinking skim milk.[2] It was soon apparent that I didn’t fit. I had supposed that I was there to be a pastor: to proclaim and interpret Scripture, to guide people into a life of prayer, to encourage faith, to represent the mercy and forgiveness of Christ at special times of need, to train people to live as disciples in their families, in their communities and in their work. In fact I had been hired to help run a church and do it as efficiently as possible: to be a cheerleader to this dynamic organization, to recruit members, to lend the dignity of my office to certain ceremonial occasions, to promote the image of a prestigious religious institution. I got out of there as quickly as I could decently manage it. At the time I thought I had just been unlucky. Later I came to realize that what I experienced was not at all uncommon.

I tell you these stories because when I look back, I still think of my life in high school musical theater as a metaphor for pretty much everything that was to follow in the real world. I've had ups and downs; I've had successes and senior slumps. I have been the girl who has the lead and the one who wished she had the bigger part. The truth, they don't feel that different from each other. My happiness has not been found in the mosts or bests no matter how many times I expected to find it there, and I looked; believe me, once in a while, I still look. We are all told it is there, all the time.

Dennis White has asked me to write a letter recommending him to the Emanuel Lutheran Seminary (Master of Divinity Program), and I am happy to grant his modest request. Four years ago Mr. White enrolled as a dewy-eyed freshman in one of my introductory literature courses (Cross-cultural Readings in English, or some such dumping ground of a title); he returned several years later for another dose of instruction, this time in the Junior/Senior Creative Writing Workshop—a particularly memorable collection of students given their shared enthusiasm for all things monstrous and demonic, nearly every story turned in for discussion involving vampires, werewolves, victims tumbling into sepulchers, and other excuses for bloodletting. I leave it to professionals in your line of work to pass judgment on this maudlin reveling in violence. A cry for help of some sort? A lack of faith — given the daily onslaught of news about melting ice caps, hunger, joblessness, war — in the validity or existence of a future? Now in my middle fifties, an irrelevant codger, I find it discomfiting to see this generation dancing to the music of apocalypse and carrying their psychic burdens in front of them like infants in arms.

As I finished my rice, I sketched out the plot of a pornographic adventure film called The Massage Room. Sirien, a young girl from northern Thailand, falls hopelessly in love with Bob, an American student who winds up in the massage parlor by accident, dragged there by his buddies after a fatefully boozy evening. Bob doesn't touch her, he's happy just to look at her with his lovely, pale-blue eyes and tell her about his hometown - in North Carolina, or somewhere like that. They see each other several more times, whenever Sirien isn't working, but, sadly, Bob must leave to finish his senior year at Yale. Ellipsis. Sirien waits expectantly while continuing to satisfy the needs of her numerous clients. Though pure at heart, she fervently jerks off and sucks paunchy, mustached Frenchmen (supporting role for Gerard Jugnot), corpulent, bald Germans (supporting role for some German actor). Finally, Bob returns and tries to free her from her hell - but the Chinese mafia doesn't see things in quite the same light. Bob persuades the American ambassador and the president of some humanitarian organization opposed to the exploitation of young girls to intervene (supporting role for Jane Fonda). What with the Chinese mafia (hint at the Triads) and the collusion of Thai generals (political angle, appeal to democratic values), there would be a lot of fight scenes and chase sequences through the streets of Bangkok. At the end of the day, Bob carries her off. But in the penultimate scene, Sirien gives, for the first time, an honest account of the extent of her sexual experience. All the cocks she has sucked as a humble massage parlor employee, she has sucked in the anticipation, in the hope of sucking Bob's cock, into which all the others were subsumed - well, I'd have to work on the dialogue. Cross fade between the two rivers (the Chao Phraya, the Delaware). Closing credits. For the European market, I already had line in mind, along the lines of "If you liked The Music Room, you'll love The Massage Room.

But without Emily, Greg would feel—paradoxically for such a social creature—alone. Before they met, most of Greg’s girlfriends were extroverts. He says he enjoyed those relationships, but never got to know his girlfriends well, because they were always “plotting how to be with groups of people.” He speaks of Emily with a kind of awe, as if she has access to a deeper state of being. He also describes her as “the anchor” around which his world revolves. Emily, for her part, treasures Greg’s ebullient nature; he makes her feel happy and alive. She has always been attracted to extroverts, who she says “do all the work of making conversation. For them, it’s not work at all.” The trouble is that for most of the five years they’ve been together, Greg and Emily have been having one version or another of the same fight. Greg, a music promoter with a large circle of friends, wants to host dinner parties every Friday—casual, animated get-togethers with heaping bowls of pasta and flowing bottles of wine. He’s been giving Friday-night dinners since he was a senior in college, and they’ve become a highlight of his week and a treasured piece of his identity. Emily has come to dread these weekly events. A hardworking staff attorney for an art museum and a very private person, the last thing she wants to do when she gets home from work is entertain. Her idea of a perfect start to the weekend is a quiet evening at the movies, just her and Greg. It seems an irreconcilable difference: Greg wants fifty-two dinner parties a year, Emily wants zero. Greg says that Emily should make more of an effort. He accuses her of being antisocial. “I am social,” she says. “I love you, I love my family, I love my close friends. I just don’t love dinner parties. People don’t really relate at those parties—they just socialize. You’re lucky because I devote all my energy to you. You spread yours around to everyone.” But Emily soon backs off, partly because she hates fighting, but also because she doubts herself. Maybe I am antisocial, she

The storm which swept me into a hospital in December began as a cloud no bigger than a wine goblet the previous June. And the cloud—the manifest crisis—involved alcohol, a substance I had been abusing for forty years. Like a great many American writers, whose sometimes lethal addiction to alcohol has become so legendary as to provide in itself a stream of studies and books, I used alcohol as the magical conduit to fantasy and euphoria, and to the enhancement of the imagination. There is no need to either rue or apologize for my use of this soothing, often sublime agent, which had contributed greatly to my writing; although I never set down a line while under its influence, I did use it—often in conjunction with music—as a means to let my mind conceive visions that the unaltered, sober brain has no access to. Alcohol was an invaluable senior partner of my intellect, besides being a friend whose ministrations I sought daily—sought also, I now see, as a means to calm the anxiety and incipient dread that I had hidden away for so long somewhere in the dungeons of my spirit.

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.

And, in treating of the social relations with the middle classes which the Prince had at Doncières, it may be as well to add these few words. The lieutenant-colonel played the piano beautifully; the senior medical officer’s wife sang like a Conservatoire medallist. This latter couple, as well as the lieutenant-colonel and his wife, used to dine every week with M. de Borodino. They were flattered, unquestionably, knowing that when the Prince went to Paris on leave he dined with Mme. de Pourtalès, and the Murats, and people like that. “But,” they said to themselves, “he’s just a captain, after all; he’s only too glad to get us to come. Still, he’s a real friend, you know.” But when M. de Borodino, who had long been pulling every possible wire to secure an appointment for himself nearer Paris, was posted to Beauvais, he packed up and went, and forgot as completely the two musical couples as he forgot the Doncières theatre and the little restaurant to which he used often to send out for his luncheon, and, to their great indignation, neither the lieutenant-colonel nor the senior medical officer, who had so often sat at his table, ever had so much as a single word from him for the rest of their lives

As Mae followed her, she had to remind herself that Annie had not always been a senior executive at a company like the Circle. There was a time, only four years ago, when Annie was a college student who wore men’s flannel housepants to class, to dinner, on casual dates. Annie was what one of her boyfriends, and there were many, always monogamous, always decent, called a doofus. But she could afford to be. She came from money, generations of money, and was very cute, dimpled and long-lashed, with hair so blond it could only be real. She was known by all as effervescent, seemed incapable of letting anything bother her for more than a few moments. But she was also a doofus. She was gangly, and used her hands wildly, dangerously, when she spoke, and was given to bizarre conversational tangents and strange obsessions—caves, amateur perfumery, doo-wop music. She was friendly with every one of her exes, with every hookup, with every professor (she knew them all personally and sent them gifts). She had been involved in, or ran, most or all of the clubs and causes in college, and yet she’d found time to be committed to her coursework—to everything, really—while also, at any party, being the most likely to embarrass herself to loosen everyone up, the last to leave. The one rational explanation for all this would have been that she did not sleep, but this was not the case. She slept decadently, eight to ten hours a day, could sleep anywhere—on a three-minute car ride, in the filthy booth of an off-campus diner, on anyone’s couch, at any time. Mae

Hey…you okay?” Marlboro Man repeated. My heart fluttered in horror. I wanted to jump out of the bathroom window, scale down the trellis, and hightail it out of there, forgetting I’d ever met any of these people. Only there wasn’t a trellis. And outside the window, down below, were 150 wedding guests. And I was sweating enough for all of them combined. I was naked and alone, enduring the flop sweat attack of my life. It figured. It was usually the times I felt and looked my absolute best when I wound up being humbled in some colossally bizarre way. There was the time I traveled to my godmother’s son’s senior prom in a distant city and partied for an hour before realizing the back of my dress was stuck inside my panty hose. And the time I entered the after-party for my final Nutcracker performance and tripped on a rug, falling on one of the guest performers and knocking an older lady’s wineglass out of her frail arms. You’d think I would have come to expect this kind of humiliation on occasions when it seemed like everything should be going my way. “You need anything?” Marlboro Man continued. A drop of sweat trickled down my upper lip. “Oh, no…I’m fine!” I answered. “I’ll be right out! You go on back to the party!” Go on, now. Run along. Please. I beg you. “I’ll be out here,” he replied. Dammit. I heard his boots travel a few steps down the hall and stop. I had to get dressed; this was getting ridiculous. Then, as I stuck my big toe into the drenched leg of my panty hose, I heard what I recognized as Marlboro Man’s brother Tim’s voice. “What’s she doing in there?” Tim whispered loudly, placing particularly uncomfortable emphasis on “doing.” I closed my eyes and prayed fervently. Lord, please take me now. I no longer want to be here. I want to be in Heaven with you, where there’s zero humidity and people aren’t punished for their poor fabric choices. “I’m not sure,” Marlboro Man answered. The geyser began spraying again. I had no choice but to surge on, to get dressed, to face the music in all my drippy, salty glory. It was better than staying in the upstairs bathroom of his grandmother’s house all night. God forbid Marlboro Man or Tim start to think I had some kind of feminine problem, or even worse, constipation or diarrhea! I’d sooner move to another country and never return than to have them think such thoughts about me.

Senior citizens naturally lament the passage of a former way of life whenever a county undergoes massive infrastructure changes; all acts of change are disconcerting. It is easy to confuse feelings of nostalgia for an incorrect belief that our youth was the Golden Age of Civilization and now decadence and debauchery mars the county that we cherish. A democratic nation is always a roughhouse of bawdy conduct. Each thronging generation of Americans fought tooth and claw over politics and social engineering and America brims with its congeries of impatient groups. Every generation includes speculators wanting to obtain quick results and instant wealth. Every age group loudly squabbles over issues of local, national, or international import. Each passing generation of American citizens skeptically questions the art and music of the new generation and dubiously interprets change as severing America from its root structure when in truth America’s fundamental tenet is its mutability, the ability to transform its governmental mechanisms, quickly adapt to transformations in science, medicine, industry, and technology.

We didn’t believe when we first heard because you know how church folk can gossip. Like the time we all thought First John, our head usher, was messing around on his wife because Betty, the pastor’s secretary, caught him cozying up at brunch with another woman. A young, fashionable woman at that, one who switched her hips when she walked even though she had no business switching anything in front of a man married forty years. You could forgive a man for stepping out on his wife once, but to romance that young woman over buttered croissants at a sidewalk café? Now, that was a whole other thing. But before we could correct First John, he showed up at Upper Room Chapel that Sunday with his wife and the young, hip-switching woman—a great-niece visiting from Fort Worth—and that was that. When we first heard, we thought it might be that type of secret, although, we have to admit, it had felt different. Tasted different too. All good secrets have a taste before you tell them, and if we’d taken a moment to swish this one around our mouths, we might have noticed the sourness of an unripe secret, plucked too soon, stolen and passed around before its season. But we didn’t. We shared this sour secret, a secret that began the spring Nadia Turner got knocked up by the pastor’s son and went to the abortion clinic downtown to take care of it. She was seventeen then. She lived with her father, a Marine, and without her mother, who had killed herself six months earlier. Since then, the girl had earned a wild reputation—she was young and scared and trying to hide her scared in her prettiness. And she was pretty, beautiful even, with amber skin, silky long hair, and eyes swirled brown and gray and gold. Like most girls, she’d already learned that pretty exposes you and pretty hides you and like most girls, she hadn’t yet learned how to navigate the difference. So we heard all about her sojourns across the border to dance clubs in Tijuana, the water bottle she carried around Oceanside High filled with vodka, the Saturdays she spent on base playing pool with Marines, nights that ended with her heels pressed against some man’s foggy window. Just tales, maybe, except for one we now know is true: she spent her senior year of high school rolling around in bed with Luke Sheppard and come springtime, his baby was growing inside her. — LUKE SHEPPARD WAITED TABLES at Fat Charlie’s Seafood Shack, a restaurant off the pier known for its fresh food, live music, and family-friendly atmosphere. At least that’s what the ad in the San Diego Union-Tribune said, if you were fool enough to believe it. If you’d been around Oceanside long enough, you’d know that the promised fresh food was day-old fish and chips stewing under heat lamps, and the live music, when delivered, usually consisted of ragtag teenagers in ripped jeans with safety pins poking through their lips.

When we first went to Provence, I assumed I would be observing a different culture. With attachment in mind, it became obvious to me that it is much more than a different culture — I was witnessing a culture at work and a culture that worked. Children greeted adults and adults greeted children. Socializing involved whole families, not adults with adults and children with children. There was only one village activity at a time, so families were not pulled in several directions. Sunday afternoon was for family walks in the countryside. Even at the village fountain, the local hangout, teens mixed with seniors. Festivals and celebrations, of which there were many, were all family affairs. The music and dancing brought the generations together instead of separating them. Culture took precedence over materialism. One could not even buy a baguette without first engaging in the appropriate greeting rituals. Village stores were closed for three hours at midday while schools emptied and families reconvened. Lunch was eaten in a congenial manner as multigenerational groupings sat around tables, sharing conversation and a meal. The attachment customs around the village primary school were equally impressive. Children were personally escorted to school and picked up by their parents or grandparents. The school was gated and the grounds could be entered only by a single entrance. At the gate were the teachers, waiting for their students to be handed over to them. Again, culture dictated that connection be established with appropriate greetings between the adult escorts and the teachers as well as the teachers and the students. Sometimes when the class had been collected but the school bell had not yet rung, the teacher would lead the class through the playground, like a mother goose followed by her goslings. While to North American eyes this may appear to be a preschool ritual, even absurd, in Provence it was selfevidently part of the natural order of things. When children were released from school, it was always one class at a time, the teacher in the lead. The teacher would wait with the students at the gate until all had been collected by their adult escort. Their teachers were their teachers whether on the grounds or in the village market or at the village festival. There weren't many cracks to fall through. Provençal culture was keeping attachment voids to a minimum.

The critical partners are aligned not according to exclusion but rather by nonexclusivity: their goal, rather than “not Apple,” was “not only Apple.” Spotify, as a focused, fragile, undernourished startup, was the perfect alternative. It presented a much better option than staying under Apple’s thumb, or suffering under a similar giant. As one senior music exec put it, “The last place most of us want streaming to end up is a straight fight between Apple and Google.

If you are a follower of PBS Newshour and enjoy its special features about people and places that make the multiracial, multicultural United States such a vibrant, diverse, and complex nation, you will want to read Michael Saltz’s The Winding Road: My Journey Through Life and the McNeil/Lehrer Newshour. Not only will you learn an insider’s history of the evolving PBS Newhour programming, but you will learn about the role of producers, writers, photographers, and tech people, most of whom are never mentioned or credited on the nightly program. This is a fascinating personal history written by an incredibly versatile former senior producer on the show. The book chronicles his work as well as his love of music, the arts, and the people who inhabit this country.

Major landowners, military commanders, priests, administrators and other senior government officials also held titles like ‘Keeper of the King’s Secrets’, ‘Beloved Acquaintance of the King’, ‘Director of Music to the Pharaoh’, ‘Overseer of the Palace Manicurists’ or even ‘of the King’s Breakfast’.

Donald Disbro is a man with a wide range of interests. He grew up in Mission Viejo, California, playing baseball in high school and college. Donald Disbro earned his MBA at Chapman University in 2003. He is a family man, going on his 9th year of marriage to Suzanne Disbro. Donald Disbro is the father of two great sons who are college and high school athletes. He loves music, particularly live music, weightlifting, and wine tasting.

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!

A senior BBC music programmer smarmed up to me and took this opportunity to remind me of my diminished status in his petty universe, “Of course, you’d have had a lot more hits if you’d just taken out all the sevenths and minor chords.” I suppose I would have had even more, if I’d only taken out all of the music entirely and most of the words, too.

Standing in front of my bathroom mirror while music blares from my speakers, I wipe away the third crooked line I’ve drawn beneath my eye. My hands are shaking, damn it. Starting senior year of high school and seeing my boyfriend after a summer apart shouldn’t be so nerve-racking, but I’ve gotten off to a disastrous start. First, my curling iron sent up smoke signals and died. Then the button on my favorite shirt popped off. Now, my eyeliner decides it has a mind of its own. If I had any choice in the matter, I’d stay in my comfy bed and eat warm chocolate chip cookies all day.

In a similar vein the author recalls sending an email to a senior music executive in the early 2000’s and getting a reply in the post, hand written on a print out of his original email.

Generally speaking, of course, any pursuit of art in camp was somewhat grotesque. I would say that the real impression made by anything connected with art arose only from the ghostlike contrast between the performance and the background of desolate camp life. I shall never forget how I awoke from the deep sleep of exhaustion on my second night in Auschwitz—roused by music. The senior warden of the hut had some kind of celebration in his room, which was near the entrance of the hut. Tipsy voices bawled some hackneyed tunes. Suddenly there was a silence and into the night a violin sang a desperately sad tango, an unusual tune not spoiled by frequent playing. The violin wept and a part of me wept with it, for on that same day someone had a twenty-fourth birthday. That someone lay in another part of the Auschwitz camp, possibly only a few hundred or a thousand yards away, and yet completely out of reach. That someone was my wife.

As A Teenager, I Dreamt Of Becoming An Engineer. One Day Janaki Amma Heard Me And Felt I Was Good. She Said That I Consider Taking Up Singing. I Met A Few Music Directors, But Nothing Happened. There Were Illustrious Seniors Around At That Time. A Few Years Later, I Won A Competition And Got My Break In The Telugu Industry.

By the time Natalie realized what Viola was doing, it was too late. She was a senior in high school, and nothing whatsoever about music made her happy. Music was something to win, to be first and best at. She snapped at her parents and was too proud to apologize. She shrank from Uncle Kevin because it was easier than admitting the truth. She listened to all of Hunky Dory, to Ziggy Stardust and Heroes, and tried to feel lovely and strange and weightless, but she couldn’t; she played the piano, she listened to music, and nothing stirred, nothing sang inside. Natalie was earthbound and ordinary, marooned, alone.

This may be the fundamental problem with caring a lot about what others think: It can put you on the established path—the my-isn’t-that-impressive path—and keep you there for a long time. Maybe it stops you from swerving, from ever even considering a swerve, because what you risk losing in terms of other people’s high regard can feel too costly. Maybe you spend three years in Massachusetts, studying constitutional law and discussing the relative merits of exclusionary vertical agreements in antitrust cases. For some, this might be truly interesting, but for you it is not. Maybe during those three years you make friends you’ll love and respect forever, people who seem genuinely called to the bloodless intricacies of the law, but you yourself are not called. Your passion stays low, yet under no circumstance will you underperform. You live, as you always have, by the code of effort/result, and with it you keep achieving until you think you know the answers to all the questions—including the most important one. Am I good enough? Yes, in fact I am. What happens next is that the rewards get real. You reach for the next rung of the ladder, and this time it’s a job with a salary in the Chicago offices of a high-end law firm called Sidley & Austin. You’re back where you started, in the city where you were born, only now you go to work on the forty-seventh floor in a downtown building with a wide plaza and a sculpture out front. You used to pass by it as a South Side kid riding the bus to high school, peering mutely out the window at the people who strode like titans to their jobs. Now you’re one of them. You’ve worked yourself out of that bus and across the plaza and onto an upward-moving elevator so silent it seems to glide. You’ve joined the tribe. At the age of twenty-five, you have an assistant. You make more money than your parents ever have. Your co-workers are polite, educated, and mostly white. You wear an Armani suit and sign up for a subscription wine service. You make monthly payments on your law school loans and go to step aerobics after work. Because you can, you buy yourself a Saab. Is there anything to question? It doesn’t seem that way. You’re a lawyer now. You’ve taken everything ever given to you—the love of your parents, the faith of your teachers, the music from Southside and Robbie, the meals from Aunt Sis, the vocabulary words drilled into you by Dandy—and converted it to this. You’ve climbed the mountain. And part of your job, aside from parsing abstract intellectual property issues for big corporations, is to help cultivate the next set of young lawyers being courted by the firm. A senior partner asks if you’ll mentor an incoming summer associate, and the answer is easy: Of course you will. You have yet to understand the altering force of a simple yes. You don’t know that when a memo arrives to confirm the assignment, some deep and unseen fault line in your life has begun to tremble, that some hold is already starting to slip. Next to your name is another name, that of some hotshot law student who’s busy climbing his own ladder. Like you, he’s black and from Harvard. Other than that, you know nothing—just the name, and it’s an odd one. Barack.

What is sensory integration therapy? This form of occupational therapy helps children and adults with SPD (sensory processing disorder) use all their senses together. These are the senses of touch, taste, smell, sight, and hearing. Sensory integration therapy is claimed to help people with SPD respond to sensory inputs such as light, sound, touch, and others; and change challenging or repetitive behaviours. Someone in the family may have trouble receiving and responding to information through their senses. This is a condition called sensory processing disorder (SPD). These people are over-sensitive to things in their surroundings. This disorder is commonly identified in children and with conditions like autism spectrum disorder. The exact cause of sensory processing disorder is yet to be identified. However, previous studies have proven that over-sensitivity to light and sound has a strong genetic component. Other studies say that those with sensory processing conditions have abnormal brain activity when exposed simultaneously to light and sound. Treatment for sensory processing disorder in children and adults is called sensory integration therapy. Therapy sessions are play-oriented for children, so they should be fun and playful. This may include the use of swings, slides, and trampolines and may be able to calm an anxious child. In addition, children can make appropriate responses. They can also perform more normally. SPD can also affect adults Someone who struggles with SPD should consider receiving occupational therapy, which has an important role in identifying and treating sensory integration issues. Occupational therapists are health professionals using different therapeutic approaches so that people can do every work they need to do, inside and outside their homes. Through occupational therapy, affected individuals are helped to manage their immediate and long-term sensory symptoms. Sensory integration therapy for adults, especially for people living with dementia or Alzheimer's disease, may use everyday sounds, objects, foods, and other items to rouse their feelings and elicit positive responses. Suppose an adult is experiencing agitation or anxiety. In that case, soothing music can calm them, or smelling a scent familiar to them can help lessen their nervous excitement and encourage relaxation, as these things can stimulate their senses. Seniors with Alzheimer's/Dementia can regain their ability to connect with the world around them. This can help improve their well-being overall and quality of life. What Are The Benefits of Sensory Integration Therapy Sensory integration treatment offers several benefits to people with SPD: * efficient organisation of sensory information. These are the things the brain collects from one's senses - smell, touch, sight, etc. * Active involvement in an exploration of the environment. * Maximised ability to function in recreational and other daily activities. * Improved independence with daily living activities. * Improved performance in the home, school, and community. * self-regulations. Affected individuals get the ability to understand and manage their behaviours and understand their feelings about things that happen around them. * Sensory systems modulation. If you are searching for an occupational therapist to work with for a family with a sensory processing disorder, check out the Mission Walk Therapy & Rehabilitation Centre. The occupational therapy team of Mission Walk uses individualised care plans, along with the most advanced techniques, so that patients can perform games, school tasks, and other day-to-day activities with their best functional skills. Call Mission Walk today for more information or a free consultation on sensory integration therapy. Our customer service staff will be happy to help.

Randall Stutman, who for decades has been the behind-the-scenes advisor for many of the biggest CEOs and leaders on Wall Street, once studied how several hundred senior executives of major corporations recharged in their downtime. The answers were things like sailing, long-distance cycling, listening quietly to classical music, scuba diving, riding motorcycles, and fly-fishing. All these activities, he noticed, had one thing in common: an absence of voices.

That unwavering devotion has always intrigued me. People commit to an artist’s music in a way they won’t to a relationship or a career. It’s a constant in their lives, no matter what else changes. My earliest memories are of my parents dancing in the kitchen to Etta James. My mom listened to those same songs my senior year of high school, over a decade after they got divorced.

Shortly afterwards, at Cambridge, he noticed a medieval crumhorn hanging on the wall at a friend’s digs and began to seek out – and teach himself to play – examples of every type of instrument that time had consigned to oblivion: crumhorns, sackbuts, sorduns, shawms, rebecs, tabors, viols, citole, organetto, racketts and chalumeaux, and all the senior and junior members of the recorder family.

In dust, heat, and discouragement and fatigue beyond telling, the British retreat continued. Trailing through St. Quentin, the tired remnants of two battalions gave up, piled up their arms in the railroad station, sat down in the Place de la Gare, and refused to go farther. They told Major Bridges whose cavalry had orders to hold off the Germans until St. Quentin was clear of troops, that their commanding officers had given the mayor a written promise to surrender in order to save the town further bombardment. Not caring to confront the battalion colonels whom he knew and who were senior to him, Bridges wished desperately for a band to rouse the two hundred or three hundred dispirited men lying about in the square. “Why not? There was a toy shop handy which provided my trumpeter and myself with a tin whistle and a drum and we marched round and round the fountain where the men were lying like the dead playing the British Grenadiers and Tipperary and beating the drum like mad.” The men sat up, began to laugh, then cheer, then one by one stood up, fell in and “eventually we moved off slowly into the night to the music of our improvised band, now reinforced with a couple of mouth organs.

For almost a century, the school had been home to creative geniuses, radical thinkers, and innovators. Ellingham had no application, no list of requirements, no instructions other than, "If you would like to be considered for Ellingham Academy, please get in touch." That was it. One simple sentence that drove every high-flying student frantic. What did they want? What were they looking for? This was like a riddle from a fantasy story or fairy tale - something the wizard makes you do before you are allowed into the Cave of Secrets. Applications were supposed to be rigid lists of requirements and test scores and essays and recommendations and maybe a blood sample and a few bars from a popular musical. Not Elllingham. Just knock on the door. Just knock on the door in the special, correct way they would not describe. You just had to get in touch with something. They looked for a spark. If they saw such a spark in you, you could be one of the fifty students they took each year. The program was only two years long, just the junior and senior years of high school. There were no tuition fees. If you got in, it was free. You just had to get in.

Now, it’s true that the closets of young children today are larded with devices—devices that ding, devices that ping, devices that beep, that shine, that play music, that play videos, that respond to a simple touch. But early childhood is also one of the few times when we as a culture still emphasize the supremacy of—and mastery over—things.

One of the loveliest things about Jessie as a mother is that she seriously embraces play. She loves rocking out to music, loves art projects, loves clue games.

By 1920, he was living back home with his parents while pursuing a degree at Michigan State Agricultural College.5 Specializing in chicken breeding, he proved to be so proficient that, immediately after his graduation, he received a summer school appointment as “instructor in poultry husbandry for federal students”—young veterans attending college with governmental aid.6 In addition to his academic work, the religiously committed Huyck was active in the Student Volunteer Movement, a campaign begun in 1886 to enlist college students for missionary work abroad with the ultimate goal of bringing about (as its watchword put it) “the evangelization of the world in this generation.”7 In April 1922, just prior to his graduation from Michigan State Agricultural College and three months shy of his twenty-eighth birthday, Emory accepted the position of superintendent of the Bath Consolidated School at an annual salary of $2,300. Eight months later, two days after Christmas, Emory married Ethel Newcomb of Pierson, Michigan, six years his senior; she would also join the faculty at the newly built school, teaching “vocal music” and second grade.8

But Wauchope also took the Mandate’s “dual obligation” seriously. Soon after arriving in Jerusalem, he concluded that he needed an Arab—astute, discreet, and independent of mind and loyalties—among his advisors. He found one in Musa Alami, whom he named as a personal secretary for Arab affairs on the first day of 1933.67 For Alami, who had begun his civil service career under Bentwich, the appointment was the second time he would report to a senior official wholly committed to the Jewish national home. Wauchope was a rich bachelor with no need for a salary: Alami believed he probably spent far more than he was paid. An aristocrat and a humanist, his passions were music, theater, and books—not least the Bible. Alami could hardly find a single text on Palestine with which Wauchope was not acquainted.

Maddie and I walk in Central Park, feeling the sun on our faces and the snow crunching under our feet. It's a beautiful day for late February. The air is crisp and fresh, and even though the forecast calls for more snow later, perhaps as early as tonight, right now the sky is a bright blue. Just right. We've been here for a while, exploring the park and its wonders. We've seen so many things. So many people. So much diversity. We've seen children of all colors building snowmen and dogs of all breeds chasing squirrels. We've seen couples of all orientations cuddling on benches and seniors of all backgrounds feeding pigeons. We've seen athletes of all fitness levels jogging and biking and skating. We've seen artists and musicians and performers of all kinds. We've heard a symphony of sounds. A harmony of noises. A melody of music.

One of the strange things about living in the world is that it is only now and then one is quite sure one is going to live forever and ever and ever. One knows it sometimes when one gets up at the tender solemn dawn-time and goes out and stands alone and throws one's head far back and looks up and watches the pale sky slowly changing and flushing and marvelous unknown things happening until the East almost makes one cry out and one's heart stands still at the strange unchanging majesty of the rising of the sun—which has been happening every morning for thousands and thousands and thousands of years. One knows it then for a moment or so. And one knows it sometimes when one stands by oneself in a wood at sunset and the mysterious deep gold stillness slanting through and under the branches seems to be saying slowly again and again something one cannot quite hear, however much one tries. Then sometimes the immense quiet of the dark blue at night with millions of stars waiting and watching makes one sure; and sometimes a sound if far-off music makes it true; and sometimes a look in someone's eyes.