Musicians Motivational Quotes

If you're waiting until you feel talented enough to make it, you'll never make it.

Music shouldn't be just a tune, it should be a touch.

It's about personal development. It's about creating your own character and pushing it to the limit. It's about pushing yourself so far out of your own and everybody else's idea of who you are and what you're capable of, that you no longer believe in limits. It's about reaching beyond your so-called potential, because your potential is never where you or anyone else expects it to be, not even close. It's about being able to say with the last breath of your life “I used all my potential and all my talents and pushed myself to the limit. I could not have fought any harder.

Music is the fastest motivator in the world.

The world accommodates you for fitting in, but only rewards you for standing out.

Why I write music? Because it hurts not to.

Quiet birds rob the universe of beautiful symphonies.

We are all beautiful instruments of God. He created many notes in music so that we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

For I have nothing to lean on, nowhere to call my home and there is nowhere I will go for Christmas to rest my head and touch familiar walls. I have no degree to show on paper or employment to take care of my health or the reassurance that I can pay my rent. And I have no right to complain because this is the road I choose and I built it myself, not really knowing where I wanted it to lead, but I have hope in all things ahead and behind and I am learning to let myself go. Forget my own ego and believe that what I am doing is grander than my very own self.

She had always wanted to do every thing, and had made more progress in both drawing and music than many might have done with so little labour as she ever would submit to... She was not much deceived as to her own skill either as an artist or a musician, but she was not unwilling to have others deceived, or sorry to know her reputation for accomplishment often higher than it deserved.

Learning, empowering, studying, practicing, and not repeating the same mistakes will help you move forward, move up, and move on to where you want to be.

Inhale the scent of a forest close by. I can smell the earthy fragrance of autumn as night falls, the leaves gently rustling, I can feel the damp air of dusk descending. The forest is not there. It is in my mind's eye.

You can reach maximum performance by engaging in physical activities.

Calling for change and being part of making change are two very different things. Stop calling for change and be a part of making the change you want to see.

Are you joining a conversation or taking it over? Stay aware of how you join a conversation and of your effect on a conversation.

The creative mind is a divine force.

Most artists wont congratulate other artist for winning because they suffer from it should have been me syndrome

I want to wake up in the world where we inspire each other rather than in the world were we kill each other.

It’s not about the amount of time you put in, it is the way you spend the time on the work you need to get done. Saying that you worked ten hours on something that went nowhere is not really anything to brag about.

You can want, wish, and dream all day, but those that prepare, work, learn, practice, and problem-solve are the ones that find success in sports, business, music, or whatever. Back up what you want with doing the work it takes to get it.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn't dance to the music of patrons.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn’t dance to the music of patrons.

I hope you'll make mistakes. If you make mistakes, it means you're out there doing something. I escaped from school as soon as I could, when the prospect of four more years of enforced learning before I could become the writer I wanted to be, seemed stifling. I got out into the world, I wrote, and I became a better writer the more I wrote, and I wrote some more, and nobody ever seemed to mind that I was making it all up as I went along. They just read what I wrote and they paid me for it or they didn't. The nearest thing I had, was a list I made when I was about 15, of everything I wanted to do. I wanted to write an adult novel, a children's book, a comic, a movie, record an audio-book, write an episode of Doctor Who, and so on. I didn't have a career, I just did the next thing on the list. When you start out in the arts, you have no idea what you're doing. This is great. People who know what they're doing, know the rules, and they know what is possible and what is impossible. You do not, and you should not. The rules on what is possible and impossible in the arts, were made by people who had not tested the bounds of the possible, by going beyond them, and you can. If you don't know it's impossible, it's easier to do, and because nobody's done it before, they haven't made up rules to stop anyone doing that particular thing again. That's much harder than it sounds, and sometimes, in the end, so much easier than you might imagine, because normally, there are things you have to do before you can get to the place you want to be. When you start out, you have to deal with the problems of failure. You need to be thick-skinned. The things I did because I was excited and wanted to see them exist in reality have never let me down, and I've never regretted the time I spent on any of them. If you have an idea of what you want to make, what you were put here to do, then just go and do that, whether you're a musician or a photographer, a fine artist, or a cartoonist, a writer, a dancer, singer, a designer, whatever you do, you have one thing that's unique, you have the ability to make art. For me, for so many of the people I've known, that's been a lifesaver the ultimate lifesaver. It gets you through good times, and it gets you through the other ones. The one thing that you have, that nobody else has, is you! Your voice, your mind, your story, your vision. So write and draw, and build, and play, and dance and live, as only you can. Do what only you can do best, make good art.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

Waiting to be discovered, hoping to be seen, wishing someone else would do the work, wanting to make it big while dreaming of being rich and famous just like your heroes is submissive, passive, foolish, weak, and ineffective. Take your desire for your dreams, your goals, and your ambition, then make them fuel for the fire to light your ass up, to get to work and on the path to make it happen. ���������������������������������������������������������������������� ��� ����� ���� ���� ���� ��� ������ ����� ���� ���� ���� ��� ����� ��� ���� ����� ��� ����� ��� �����������������������������������������������������������������������������������������������������������������������������

In The Talent Code, Daniel Coyle writes that “From a scientific perspective, it was as if the researchers had traced the lineage of the world’s most beautiful swans back to a scruffy flock of barnyard chickens.” Over time, even without an expert teacher at the outset, the pianists managed to become the best musicians in the world. The pianists gained their advantage by practicing many more hours than their peers. As Malcolm Gladwell showed us in Outliers, research led by psychologist Anders Ericsson reveals that attaining expertise in a domain typically requires ten thousand hours of deliberate practice. But what motivates people to practice at such length in the first place? This is where givers often enter the picture.

You allowed the girl to stay just long enough to ensure that Gareth would become enchanted with her — then, when he annoyed you, as he inevitably would, you sent her away. How very cruel, my friend!  To use the poor girl to punish your brother!  But no. That is not like you to be so heartless. Thus, I can only conclude that you are up to something, though what it could be, I have yet to fathom."  He shot Lucien a sideways glance. "Are you certain she's the one Charles was so smitten with?" Lucien was sitting back, smiling and idly watching the musicians. "Dead certain." "And the child?" "The spitting image of her father." "And yet you sent them away."  Fox shook his head. "What were you thinking of?" The duke turned his head, raising his brows in feigned surprise. "My dear Roger. You know me better than that. Do you think I would actually banish them?" "'Tis what your sister told me when I arrived." 'Ah, but 'tis what I want my sister to believe," he countered, smoothly. "And my two brothers — especially, Gareth."  He sipped his port, then swirled the liquid in the glass, studying it reflectively. "Besides, Roger, if you must know, I did not send the girl away — I merely made her feel so awkward that she had no desire to remain." "Is there a difference?" "But of course. She made the decision to leave, which means she maintains both her pride and a small modicum of respect, if not liking for me — which I may find useful at a future date. Gareth thinks I sent her away, which means he is perfectly furious with me. The result? She leaves, and he chases after her, which is exactly what I wanted him to do."  He chuckled. "Oh, to be a fly on the wall when he finds her and the two of them discover my hand in all this..." "Lucien, your eyes are gleaming with that cunning amusement that tells me you're up to something especially Machiavellian." "Is that so? Then I fear I must work harder at concealing the obvious." Fox gave him a shrewd look. "This is most confusing, as I'm sure you intend it to be. You know the child is Charles's and yet you will not acknowledge her ... and this after Charles expressly asked you to make her your ward?" "Really, Roger. There is no need to make the child my ward when Gareth, in all likelihood, will adopt her as his daughter." The barrister narrowed his eyes. "You have some superior, ulterior motive that evades us mere mortals." "But of course," Lucien murmured yet again, lifting his glass and idly sipping its dark liquid. "And perhaps you can explain it to this mere mortal?" "My dear Fox. It is quite simple, really. Drastic problems call for drastic solutions. By sending the girl away, I have set in motion my plan for Gareth's salvation. If things go as I expect, he will stay so furious with me that he will not only charge headlong to her rescue — but headlong into marriage with her." "Bloody hell!  Lucien, the girl's completely ill-suited for him!" "On the contrary. I have observed them together, Fox. They compliment each other perfectly. As for the girl, what she lacks in wealth and social standing she more than makes up for in courage, resolve, common sense, and maturity. Gareth, whether he knows it or not, needs someone just like her. It is my hope that she will — shall I say — reform him." Fox shook his head and bit into a fine piece of Cheshire. "You're taking a risk in assuming Gareth will even find her." "Oh, he'll find her. I have no doubt about that."  Lucien gestured for a footman, who promptly stepped forward and refilled his glass. "He's already half in love with her as it is. Gareth is nothing if not persistent." "Yes, and he is also given to rashness, poor judgment, and an unhealthy appetite for dissolute living." "Indeed. And that, my dear Fox, is exactly what I believe the girl will cure him of.

True behavior change is identity change. You might start a habit because of motivation, but the only reason you’ll stick with one is that it becomes part of your identity. Anyone can convince themselves to visit the gym or eat healthy once or twice, but if you don’t shift the belief behind the behavior, then it is hard to stick with long-term changes. Improvements are only temporary until they become part of who you are. The goal is not to read a book, the goal is to become a reader. The goal is not to run a marathon, the goal is to become a runner. The goal is not to learn an instrument, the goal is to become a musician.

What is killing most of the big artist, is that they turn you down, without hearing what you can do or hearing the song you want them on first. What is killing most big business , is that they turn you down, without hearing your offer or ideas.

You’re like a flower that’s ready to bloom, but never truly trusts the sun.

Musicians collaborate with each other all the time. Why don't we do the same as writers?

We used to make music to top up the charts, now we make music to talk to the hearts.

When they start something for the artists to promote talent and art, but their focus and emphasis is on business side of whatever they started .They are going to sideline other artist and going to kill the spirit of art in others, because they are trying to make business out of artists forgetting how important is the artist and the art itself.

I'll be successful, maybe not immediately but Absolutely and Definitely...

To be ordinary, be normal; to be original, be different; to be valuable, be unique; to be priceless, be yourself.

I’ve come face-to-face with these two questions countless times as a writer, an entrepreneur, a painter, a musician, and even a lawyer. On a more immediate level, the questions relate to the project you’re working on. If you’re a painter creating a collection of work, you may start to feel the questions arise as you explore whether a canvas or the collection is taking shape as you have envisioned it. On a more expansive level, the question emerges in the context of whether you should even be a painter or a writer, a coder, an entrepreneur, a CEO. I’ve seen actors struggle to build careers for decades, never coming close to earning enough to cover their bills. Yet they keep on keeping on, because their big break could be one audition away. And this is what they feel called to do. These are some of the most difficult and defining moments every creator faces. I’ve been told by legendary entrepreneurs, “If you have to ask, assume it’s resistance and soldier on.” They claim that you just know whether or not a project is meant to be. But I’ve witnessed countless people commit to perpetually unsuccessful projects or careers or, on the other side of the spectrum, come a breath away from what would’ve been breakthrough success had they just held on a bit longer. So I began to explore a more systematic process, a set of benchmarks, tests, and questions that might better guide these moments and help people decide whether to keep leaning into the journey, alter their course, or walk away and do something entirely different. We start by asking, “What was your inciting motivation?” What made you undertake this endeavor to begin with. Was it, in some form, the expression of a calling? Was it something to keep you busy? Was it about serving a group of people, solving a problem, or serving up a delight? Was it about money or doing anything you could to get your parents off your back and avoid grad school? Begin by going back to the time surrounding your decision to create whatever it is you’re creating and answer this question. Then move on to the next question. In light of the information and experiences you’ve had along the journey to date, does that original motive still hold true? Are you still equally or even more determined to make it happen? And given what you now know, do you believe you can make it happen?

Talent & Skills are useless & won’t get you anywhere, without lot of practice, commitment & prioritization

Are [the arts and the sciences] really as distinct as we seem to assume? [...] Most universities will have distinct faculties of arts and sciences, for instance. But the division clearly has some artificiality. Suppose one assumed, for example, that the arts were about creativity while the sciences were about a rigorous application of technique and methods. This would be an oversimplification because all disciplines need both. The best science requires creative thinking. Someone has to see a problem, form a hypothesis about a solution, and then figure out how to test that hypothesis and implement its findings. That all requires creative thinking, which is often called innovation. The very best scientists display creative genius equal to any artist. [...] And let us also consider our artists. Creativity alone fails to deliver us anything of worth. A musician or painter must also learn a technique, sometimes as rigorous and precise as found in any science, in order that they can turn their thoughts into a work. They must attain mastery over their medium. Even a writer works within the rules of grammar to produce beauty. [...] The logical positivists, who were reconstructing David Hume’s general approach, looked at verifiability as the mark of science. But most of science cannot be verified. It mainly consists of theories that we retain as long as they work but which are often rejected. Science is theoretical rather than proven. Having seen this, Karl Popper proposed falsifiability as the criterion of science. While we cannot prove theories true, he argued, we can at least prove that some are false and this is what demonstrates the superiority of science. The rest is nonsense on his account. The same problems afflict Popper’s account, however. It is just as hard to prove a theory false as it is to prove one true. I am also in sympathy with the early Wittgenstein of the Tractatus Logico-Philosophicus who says that far from being nonsense, the non-sciences are often the most meaningful things in our lives. I am not sure the relationship to truth is really what divides the arts and sciences. [...] The sciences get us what we want. They have plenty of extrinsic value. Medicine enables us to cure illness, for instance, and physics enables us to develop technology. I do not think, in contrast, that we pursue the arts for what they get us. They are usually ends in themselves. But I said this was only a vague distinction. Our greatest scientists are not merely looking to fix practical problems. Newton, Einstein and Darwin seemed primarily to be seeking understanding of the world for its own sake, motivated primarily by a sense of wonder. I would take this again as indicative of the arts and sciences not being as far apart as they are usually depicted. And nor do I see them as being opposed. The best in any field will have a mixture of creativity and discipline and to that extent the arts and sciences are complimentary.

Either be a good parent to your career or just give your dream up for adoption.

Eloquent speakers, communication experts, seasoned actors, and musicians all understand the transforming power of the pause. They know all too well that strategic silence and a well-placed whisper can speak louder than words in delivering a memorable presentation. It captures people's attention . . . creating eager anticipation for your next words.

Even supermotivated people who’re working to exhaustion may not be doing deliberate practice. For instance, when a Japanese rowing team invited Olympic gold medalist Mads Rasmussen to come visit, he was shocked at how many hours of practice their athletes were logging. It’s not hours of brute-force exhaustion you’re after, he told them. It’s high-quality, thoughtful training goals pursued, just as Ericsson’s research has shown, for just a few hours a day, tops. Noa Kageyama, a performance psychologist on the faculty of the Juilliard School of Music, says he’s been playing the violin since he was two but didn’t really start practicing deliberately until he was twenty-two. Why not? There was no lack of motivation—at one point, young Noa was taking lessons with four different teachers and, literally, commuting to three different cities to work with them all. Really, the problem was just that Noa didn’t know better. Once he discovered there was an actual science of practice—an approach that would improve his skills more efficiently—both the quality of his practice and his satisfaction with his progress skyrocketed. He’s now devoted himself to sharing that knowledge with other musicians.

First you have to take your skills and talent somewhere , In order for your skills and talent to take you everywhere.

What we seek whole-heartedly shall manage to make inroads into lives

When your a Celebrity or Artist, people don't care how your doing, but they want to know who your doing and what are you doing . Especially with the issues and problems they have.

When you work with other producers or artists and you are about to do a collaboration or a feature. Don't judge them based on the work they have done. Judge them on the song or feature they want you on. If it is for you and you can work on it. Lots of artists lost big hits , because they judged other artists and producers based on the work they did before, not the work they are being called to do.

Human beings are capable of such amazing things. I think a lot of what’s driven me as a musician is something to do with this, to touch other people with what I do has given me such a strong sense of purpose and motivation.

Human beings are capable of such amazing things. I think a lot of what’s driven me as a musician is something to do with this, to touch other people with what I do has given me such a strong sense of purpose and motivation. The organic connection between the person that creates something and the person moved by it is a profoundly magical thing.

Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” —Charles Mingus, legendary jazz musician

WISDOM KEEPER: My Extraordinary Journey to Unlock the Sacred Within “Chloe’s heartfelt journey is the real deal here to inspire us all. She takes the reader on a journey of darkness to light, struggle to freedom, fear to love. Thank you, Chloe, for this incredible ride. A must read for all who want true transformation.”— Dr. Shannon South, Award-Winning Therapist, Best-Selling Author, and Founder of the Ignite Your Life and business programs “There is a healing purpose in every experience written by Chloe in this spiritual memoir. She shares processes for healing in the physical, emotional and spiritual realms, showing us our ability to use all levels of energy to achieve deep and lasting healing. Chloe reveals to us the importance of connection—with the spiritual and physical world, and our past lives to the present. She reminds us we are essential in the Universe; when we heal, our loved ones, people around us, and the Earth also heals. Chloe inspires us to do the same thing. Well done. I appreciate it very much. This book is truly for everyone. — Eduardo Morales, Shamanic Curandero, Tepoztlán, Mexico “WISDOM KEEPER is filled with wonderful personal experiences on the power of healing, visualizations, dreams, and listening to our inner voices. Chloe Kemp describes encounters with others on a multitude of levels, including sacred beings, shamans, and other deep-souled humans. This book inspires the reader to go deep within themselves and invite their own personal self-healer to emerge. Chloe helps us to understand that anything is possible.”—River Guerguerian, Sound Immersion Healer, Musician, Composer, and Educator  “Having met and worked with Chloe personally, I know she is a genuine woman with a mission and clear determination to fulfill her purpose in this life. She has followed the call from Spirit to share stories from her life and wisdom she has gained, weaving energies and expressing a frequency of consciousness that has a way of bringing readers to a deeper state of awareness and potency upon their own unique journey. Chloe's book shines a light on our ability to reconnect with the origin of what makes us each a special part of the Divine plan, and she does it in a very humble and approachable way."—Michael Brasunas, Holistic Energy Healer and Bodyworker “Your inspiring memoir is engaging and thought-provoking throughout. It brings together the highest spiritual insights and practical frameworks that everyone can understand and apply.”—Louise, Australia  “A fascinating read!”—Caleb, USA  “The narrative is immensely raw and deeply personal. It engaged all of my emotions completely.”—Abantika, India   “A remarkable story.”—Michael, USA “The writing style is amazing.Your life experiences are so unique.”—Taibaya, Pakistan  “You have a gift for spiritual healing and telling a story. You created a hopeful, sincere, compelling, interesting, and important story.”—Jessica, USA “You tell events, dreams, and moments in your life in a very engaging and thought-provoking way.”—Josh, USA  “Very entertaining, awakening, and engaging; as well as informative, practical, motivating and inspiring.”—Susan, USA      

Nothing sustains motivation better than belonging to the tribe. It transforms a personal quest into a shared one. Previously, you were on your own. Your identity was singular. You are a reader. You are a musician. You are an athlete. When you join a book club or a band or a cycling group, your identity becomes linked to those around you. Growth and change is no longer an individual pursuit. We are readers. We are musicians. We are cyclists. The shared identity begins to reinforce your personal identity. This is why remaining part of a group after achieving a goal is crucial to maintaining your habits. It’s friendship and community that embed a new identity and help behaviors last over the long run.

Och tro mig, musiken syns i dina ögon också. Till och med när du blundar.

The term scenius (coined by musician Brian Eno) describes great works that are created from a community of motivated and mutually appreciative individuals;

Women have come a long way , since that day on September 7th 1968 , when they burnt myriad symbolic feminine products , including mops and bras , as a mark of protest . The women wanted to call world-wide attention to women's rights and women's liberation ! Today women are making headlines each and every day as the makers and creators of positive change in all walks of life . Be it as doctors , pilots , engineers , artists , writers , musicians, innovators, teachers , astronauts , researchers, managers , private or government employees , designers , scientists , dancers, singers, entrepreneurs , architects , bus-drivers , nurses , chefs , actors, athletes , politicians , or home-makers , women have been and are continuing to prove themselves that they are equal to or better than men in all walks of life ! A big 'Salute ' to all the women in the world !

This view of motivation, where students invest effort to get good at something, is often seen in out-of-school contexts – learning so as to be a dancer, a musician, a gamer. When in-school experiences lack this sense of purpose, it is most often because of dreary content and grading practices that reward compliance rather than learning. The measurement literature is replete with studies documenting the mixture of considerations that go into teachers’ grades. The majority of teachers use points and grades to “motivate” their students. Contrary to their intentions, this leads to the com-modification of learning and fosters a performance orientation rather than a mastery or learning orientation.

I was becoming very confident in my skills as a musician. There’s an inherent contradiction embedded in practice—at least that I’ve found in my experience: While motivation to put in the hours comes from being confident in your ability to eventually master and contribute to a craft, arriving at that confidence to begin with often requires putting in many, many hours of practice. This catch-22 is the reason so many people pick up the guitar only to quit after learning a couple Jimmy Buffett songs—it’s difficult to imagine yourself as anything but a beginner when you are starting out.

Painting a conventional portrait for a pushy patron did not interest him. Nor did money motivate him. He painted portraits if the subject struck his fancy, such as the Musician, or if a powerful ruler demanded it, as in the case of Ludovico with his mistresses. But he didn't dance to the music of patrons.

Running after my own dreams Tripping over my own feet Held on to my self esteem Walking to my own loud beat So stand tall or take a seat

There is no bad artist, when it comes to art. It is either you don't understand the artist work or you can't relate to it. Art is like beauty. It is in the eyes or ears of the beholder. There is more to it ,than what you hear or see.

If you are an entrepreneur, or a manager in a bank and are afraid to come forward as a musician, just go and google every celebrity in history, from Nikola Tesla to Rabindranath Tagore and many more, they lived their life with 100 different titles such as innovators, writers, philosophers and more, because they never judged themselves

Being a musician. It is about trying something new always. Until that something sounds good and pleasing.

Being a musician. It is about experiencing and trying something new always. Until that something sounds good and pleasing.

In Chia’s experiments, professional musicians learn about two pianists whose biographies are identical in terms of prior achievements. The subjects listen to a short clip of these individuals playing piano; unbeknownst to the listeners, a single pianist is, in fact, playing different parts of the same piece. What varies is that one pianist is described as a “natural” with early evidence of innate talent. The other is described as a “striver” with early evidence of high motivation and perseverance. In direct contradiction to their stated beliefs about the importance of effort versus talent, musicians judge the natural to be more likely to succeed and more hirable.

For many years, psychologists believed that in any domain, success depended on talent first and motivation second. To groom world-class athletes and musicians, experts looked for people with the right raw abilities, and then sought to motivate them. If you want to find people who can dunk like Michael Jordan or play piano like Beethoven, it’s only natural to start by screening candidates for leaping ability and an ear for music. But in recent years, psychologists have come to believe that this approach may be backward.

goals in life. You are reading this book because you are looking for inspiration and techniques that will increase your motivation and bring you closer to your goals. Maybe you want to get in shape. Maybe you want to excel in your career. Maybe you want to be an outstanding musician or artist, or pursue some other outlet for your creativity. In general,

Entertaining wrong crowd, People or friends can make you feel useless and not important. Sometimes you don’t have to change your plans, just change your audience. You might find you doing a right thing to the target market.

There is something special missing in this world. That something special is in you. Do your own thing. Master it & perfect it. Don’t throw away something you have for something other people have. You might be throwing away something bigger than what they have.

I made it a point to recruit only subjects who had trained extensively as athletes, dancers, musicians, or singers. None of them ever quit on me. So here we have purposeful practice in a nutshell: Get outside your comfort zone but do it in a focused way, with clear goals, a plan for reaching those goals, and a way to monitor your progress. Oh, and figure out a way to maintain your motivation.

Jazz musician Miles Davis once said, “If somebody told me I had only one hour to live, I’d spend it choking a white man. I’d do it nice and slow.” bell hooks, a black professor of English at City College of New York who spells her name in lower case, once wrote, “I am writing this essay sitting beside an anonymous white male that I long to murder.” Demond Washington, a star athlete at Tallassee High School in Tallassee, Alabama, got in trouble for saying over the school intercom, “I hate white people and I’m going to kill them all!” Later he said he did not mean it. Someone who probably did mean it was Maurice Heath, who heads the Philadelphia chapter of the New Black Panther party. He once told a crowd, “I hate white people—all of them! . . . You want freedom? You’re gonna have to kill some crackers! You’re gonna have to kill some of their babies!” Another one who probably meant it is Dr. Kamau Kambon, black activist and former visiting professor of Africana Studies at North Carolina State University in Raleigh. In 2005, Prof. Kambon told a panel at Howard University Law School that “white people want to kill us,” and that “we have to exterminate white people off the face of the planet to solve this problem.” In 2005, James “Jimi” Izrael, a black editorial assistant for the Lexington, Kentucky, Herald- Leader, was on a radio program to talk about Prof. Kambon. Another guest mentioned other blacks who have written about the fantasy of killing whites, and Mr. Izrael began to laugh. “Listen,” he said, “I’m laughing because if I had a dollar for every time I heard a black person [talking about] killing somebody white I’d be a millionaire.” For some, killing whites is not fantasy. Although the press was quiet about this aspect of the story, the two snipers who terrorized the Washington, DC, area in 2002 had a racial motive. Lee Malvo testified that his confederate, John Muhammad, was driven by hatred of America because of its “slavery, hypocrisy and foreign policy.” His plan was to kill six whites every day for 30 days. For a 179-day period in 1973 and 1974, a group of Black Muslim “Death Angels” kept the city of San Francisco in a panic as they killed scores of randomly-chosen “blue-eyed devils.” Some 71 deaths were eventually attributed to them. Four of an estimated 14 Death Angels were convicted of first-degree murder. Most Americans have never heard of what became known as the Zebra Killings. A 2005 analysis of crime victim surveys found that 45 percent of the violent crimes blacks committed were against whites, 43 percent against blacks, and 10 percent against Hispanics. There was therefore slightly more black-on-white than black-on-black crime. When whites committed violence they chose black victims only 3 percent of the time. Violence by whites against blacks, such as the 1998 dragging death of James Byrd, is well reported, but racial murder by blacks is little publicized. For example, in Wilkinsburg, near Philadelphia, 39-year-old Ronald Taylor killed three men and wounded two others in a 2000 rampage, in which he targeted whites. At one point, he pushed a black woman out of his way, saying “Not you, sister. I’m not going to hurt any black people. I’m just out to kill all white people.

Music is an ageless form of art, an intricate language that resonates with the human soul.

Today’s systems around the world—from the educators to the Hollywood producers to the fashion designers to the musicians—are not concerned with glorifying God at all. In fact, as a whole, they “willingly are ignorant” of God (2 Peter 3:5). Even in Christian ministry, there is much popular teaching about promoting self, building a brand, and developing a personal platform. But for those of us who know God, and who have received Christ, our hearts’ desire and purest passion should be to glorify Him—to make the Lord Jesus Christ more clearly known before men.

A man is a success if he gets up in the morning and gets to bed at night, and in between he does what he wants to do. —Bob Dylan musician

All the drive in the world is worthless if you are driving yourself off a cliff.

In a now-famous experiment, he and his colleagues compared three groups of expert violinists at the elite Music Academy in West Berlin. The researchers asked the professors to divide the students into three groups: the “best violinists,” who had the potential for careers as international soloists; the “good violinists”; and a third group training to be violin teachers rather than performers. Then they interviewed the musicians and asked them to keep detailed diaries of their time. They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week— participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done. Ericsson and his cohorts found similar effects of solitude when they studied other kinds of expert performers. “Serious study alone” is the strongest predictor of skill for tournament-rated chess players, for example; grandmasters typically spend a whopping five thousand hours—almost five times as many hours as intermediatelevel players—studying the game by themselves during their first ten years of learning to play. College students who tend to study alone learn more over time than those who work in groups. Even elite athletes in team sports often spend unusual amounts of time in solitary practice. What’s so magical about solitude? In many fields, Ericsson told me, it’s only when you’re alone that you can engage in Deliberate Practice, which he has identified as the key to exceptional achievement. When you practice deliberately, you identify the tasks or knowledge that are just out of your reach, strive to upgrade your performance, monitor your progress, and revise accordingly. Practice sessions that fall short of this standard are not only less useful—they’re counterproductive. They reinforce existing cognitive mechanisms instead of improving them. Deliberate Practice is best conducted alone for several reasons. It takes intense concentration, and other people can be distracting. It requires deep motivation, often self-generated. But most important, it involves working on the task that’s most challenging to you personally. Only when you’re alone, Ericsson told me, can you “go directly to the part that’s challenging to you. If you want to improve what you’re doing, you have to be the one who generates the move. Imagine a group class—you’re the one generating the move only a small percentage of the time.” To see Deliberate Practice in action, we need look no further than the story of Stephen Wozniak. The Homebrew meeting was the catalyst that inspired him to build that first PC, but the knowledge base and work habits that made it possible came from another place entirely: Woz had deliberately practiced engineering ever since he was a little kid. (Ericsson says that it takes approximately ten thousand hours of Deliberate Practice to gain true expertise, so it helps to start young.)

I believe it was the Beatles and other singer-songwriters of the sixties who realized that recording your own songs was far more lucrative than doing record after record covering other people’s songs, as had often been the norm in pop music. This incentivized songwriting, and it was partly due to this insight that there was suddenly an explosion of creativity and innovation in pop music in the sixties. But it also made a few too many musicians feel more or less obliged to consider themselves songwriters. I’m as guilty as many others in feeling that I, or my bandmates, “had” to write every last song on a record, even though covering an underappreciated gem might have been a better choice than recording one of our not-so-stellar writing efforts. However, even not-so-good songs generate income from album sales, as long as there are a couple of hits on there that motivate folks to buy the whole album. The “filler” goes along for the ride and still generates money for the artists and publishers.