Performance Funny Quotes

He'd barely seen me coming, and despite the horribleness of what I'd just done, I kind of wished one of my instructors had been there to grade me on such an awesome performance.

I was performing my ritual of sipping tea, shooting flirtatious glances and planning murder

All problems with writing and performing come from fear. Fear of exposure, fear of weakness, fear of lack of talent, fear of looking like a fool for trying, for even thinking you could write in the first place. It's all fear. If we didn't have fear, imagine the creativity in the world. Fear holds us back every step of the way. A lot of studies say that despite all our fears in this country - death, war, guns, illness - our biggest fear is public speaking. What I am doing right now. And when people are asked to identify which kind of public speaking they are most afraid of, they check the improvisation box. So improvisation is the number-one fear in America. Forget a nuclear winter or an eight-point nine earthquake or another Hitler. It's improv. Which is funny, because aren't we just improvising all day long? Isn't our whole life just one long improvisation? What are we so scared of?

While I was backstage before presenting the Best New Artist award, I talked to George Strait for a while. He's so incredibly cool. So down-to-earth and funny. I think it should be known that George Strait has an awesome, dry, subtle sense of humor. Then I went back out into the crowd and watched the rest of the show. Keith Urban's new song KILLS ME, it's so good. And when Brad Paisley ran down into the front row and kissed Kimberley's stomach (she's pregnant) before accepting his award, Kellie, my mom, and I all started crying. That's probably the sweetest thing I've ever seen. I thought Kellie NAILED her performance of the song we wrote together "The Best Days of Your Life". I was so proud of her. I thought Darius Rucker's performance RULED, and his vocals were incredible. I'm a huge fan. I love it when I find out that the people who make the music I love are wonderful people. I love Faith Hill and how she always makes everyone in the room feel special. I love Keith Urban, and how he told me he knows every word to "Love Story" (That made my night). I love Nicole Kidman, and her sweet, warm personality. I love how Kenny Chesney always has something hilarious or thoughtful to say. But the real moment that brought on this wave of gratitude was when Shania Twain HERSELF walked up and introduced herself to me. Shania Twain, as in.. The reason I wanted to do this in the first place. Shania Twain, as in.. the most impressive and independent and confident and successful female artist to ever hit country music. She walked up to me and said she wanted to meet me and tell me I was doing a great job. She was so beautiful, guys. She really IS that beautiful. All the while, I was completely star struck. After she walked away, I realized I didn't have my camera. Then I cried. You know, last night made me feel really great about being a country music fan in general. Country music is the place to find reality in music, and reality in the stars who make that music. There's kindness and goodness and....honesty in the people I look up to, and knowing that makes me smile. I'm proud to sing country music, and that has never wavered. The reason for the being.. nights like last night.

Even the world’s greatest actor cannot fake an erection.

Don't be so damned patronizing. Your performance so far has been a little less than dazzling." "I didn't mean no harm," I said and kissed her. "That a new dress?" "Ah! Changing the subject, you coward.

I can be funny, because I have time to meditate about how to be funny, and I can repair my mistakes when I perform mistakes, and I can be a melancholy person in manners that are interesting, not only melancholy. With writing, we have second chances.

The parents are making threatening noises, turning dinner into performance art, with dad doing his Arnold Schwarzenegger imitation and mom playing Glenn Close in one of her psycho roles. I am the Victim. Mom: [creepy smile] “Thought you could put one over us, did you, Melinda? Big high school students now, don’t need to show your homework to your parents, don’t need to show any failing test grades?” Dad: [bangs table, silverware jumps] “Cut the crap. She knows what’s up. The interim reports came today. Listen to me, young lady. I’m only going to say this to you once. You get those grades up or your name is mud. Hear me? Get them up!” [Attacks baked potato.]

It was a funny thing: once you tell your story to others it becomes more like fiction and less like truth. A layer of performance is added to it, removing you further from the real thing.

Numero uno: you realise pretty quickly that you're never going to get what one of the viler magazines might refer to as a 'bikini body' so, instead of doing a hundred sit-ups twice a day, you can opt out of all that perfectionist malarkey. And you can spend your energy developing other personal qualities. Like being funny. And galloping. And learning complex dance routines, which become suddenly hilarious when you whack on a leotard and try to perform them. All that lovely stuff.

As we sat there, the door opened, just barely, and a hand slid inside and dropped a set of keys on a side table. "Thanks, Garrett!" I called out. He gave me a thumbs-up and closed the door. "How do you suppose he knew we were performing sexual favors on each other?" I asked, snuggling against my man again. "Possibly because you screamed my name about seven times.

Because my mother hadn’t been an ostentatious or performative person, it had taken me a long time, until college really, to realize how smart and funny she was, and how generously compassionate.

If this happened in a Fae marriage, then the female would beat the male into submission. If she is too small to beat him properly, one of the larger women of her family would perform the task for her.

Ivanov: I am a bad, pathetic and worthless individual. One needs to be pathetic, too, worn out and drained by drink, like Pasha, to be still fond of me and to respect me. My God, how I despise myself! I so deeply loathe my voice, my walk, my hands, these clothes, my thoughts. Well, isn't that funny, isn't that shocking? Less than a year ago I was healthy and strong, I was cheerful, tireless, passionate, I worked with these very hands, I could speak to move even Philistines to tears, I could cry when I saw grief, I became indignant when I encountered evil. I knew inspiration, I knew the charm and poetry of quiet nights when from dusk to dawn you sit at your desk or indulge you mind with dreams. I believed, I looked into the future as into the eyes of my own mother... And now, my God, I am exhausted, I do not believe, I spend my days and nights in idleness.

I'm like a circus standing on two legs.

Bird had hoped at least to achieve a little humor in his vomiting style, but his actual performance was anything but funny.

They had to swing by Jared’s locker so he could grab his jacket. “A leather jacket,” Kami said as he shrugged into it. “Aren’t you trying a little too hard to play into certain bad boy clichés?” “Nah,” said Jared. “You’re thinking of black leather. Black leather’s for bad boys. It’s all in the color. You wouldn’t think I was a bad boy if I was wearing a pink leather jacket.” “That’s true,” Kami said. “What I would think of you, I do not know. So what does brown leather mean, then?” “I’m going for manly,” Jared said. “Maybe a little rugged.” “It’s bits of dead cow; don’t ask it to perform miracles.

It’s funny, I thought, how the routine of life goes on, whatever happens, we do the same things, go through the little performance of eating, sleeping, washing. No crisis can break through the crust of habit.

I stop stretching and face him, unwilling to back down from this visual standoff. I'm not going to let him perform his little Jedi mind tricks on me, no matter how much I wish I could perform them on him. He’s completely unreadable and even more unpredictable. It pisses me off.

As she watched, he examined the can intently, read the ingredients, then returned it to the shelf and chose another, repeating his thorough study of it. The contrast between his rough, tough-guy appearance and the domestic act he was performing did funny things to her head. She had a sudden, breathtaking vision of a dark-haired little boy sitting in the seat of the cart, laughing up at Cian, grabbing at his swinging braids with chubby little fists, while his daddy inspected the ingredients on a jar of baby food. Her mind’s eye picture of sexy, strong man with beautiful, helpless child made something soft and warm blossom behind her chest.

Too often males focus on being funny around women, acting like clowns, telling jokes, and performing pranks, to make the woman they want laugh instead of making her feel any useful emotion, such as attractive or horny.

The priest DID have it coming, though," Lelldorin declared hotly. "What priest?" "The priest of Chaldan at that little chapel who wouldn't marry us because Arianna couldn't give him a document proving she had her family's consent. He was very insulting." "Did you break anything?" "A few of his teeth is about all-- and I stopped hitting him as soon as he agreed to perform the ceremony.

It wasn’t right. A rescuer shouldn't have a hard-on while performing a heroic act. Charles was pretty sure there was a rule about that somewhere, but he'd be damned if it was one he could follow right now.

Passersby looked at us curiously. In the porch, Mr. Whitman held the church door open for us. “Hurry up, please,” he said. “We don’t want to attract attention.” No, sure, there was nothing likely to attract attention in two black limousines parking in North Audley Street in broad daylight so that men in suits could carry the Lost Ark out of the trunk of one of the cars, over the sidewalk, and into the church. Although from a distance the chest carrying it could have been a small coffin . . . The thought gave me goose bumps. “I hope at least you remembered your pistol,” I whispered to Gideon. “You have a funny idea of what goes on at a soiree,” he said, in a normal tone of voice, arranging the scarf around my shoulders. “Did anyone check what’s in your bag? We don’t want your mobile ringing in the middle of a musical performance.” I couldn’t keep from laughing at the idea, because just then my ringtone was a croaking frog. “There won’t be anyone there who could call me except you,” I pointed out. “And I don’t even know your number. Please may I take a look inside your bag?” “It’s called a reticule,” I said, shrugging and handing him the little bag. “Smelling salts, handkerchief, perfume, powder . . . excellent,” said Gideon. “All just as it should be. Come along.” He gave me the reticule back, took my hand, and led me through the church porch. Mr. Whitman bolted the door again behind us. Gideon forgot to let go of my hand once we were inside the church, which was just as well, because otherwise I’d have panicked at the last moment and run away.

What drives you to perform is the need for that primal connection,” he later explained. “My mother was funny with me, and I started to be charming and funny for her, and I learned that by being entertaining, you make a connection with another person.

I just asked you, Alan, what was your opinion about the trend towards modernisation in the performance of the classics?" Larry's dad said, with his lip curled up all funny.[...] "I think it's okay. I don't think you should diss actors just 'cause they can't afford proper costumes." Then Larry laughed, but his family all looked at me like I had sauce all over my face or something. So I wiped my mouth, but it was clean anyhow. But I made sure I was extra careful eating after that, just in case.

When I was done raking and bagging, I banged on the door and demanded entry /...let me in by the hair on your chinny, chin-chin/ (a fairytale moment there) Dick opened it and in his posthest voice, said that before he could possibly consider letting me re-cross the threshold he needed to ask me whether I was a good f*cking fairy or a bad f*cking fairy? Grinning, I told him that I was very wicked fairy and if he had a wand about his person that I could have lend of, I would prove it. He said that was the right answer and promptly yanked me inside where he located and presented me with his wand, breathily ordering the sorcerer's apprentice to perform magic with it. Judging by the look on his face afterwards, I knew I'd impressed him with my oral sorcery and I was more than happy with the short-lifting sorcery Shane performed on me as the same time.

had already acquired a performer’s ego, which is kind of like a stained-glass painting: begging to be looked at, but incredibly fragile.

Unhappiness and the like often inspire us to perform random acts of unkindness.

new performance ongoing where pages of a dictionary are ripped out and thrown on the stage floor, it’s a play on words with the title of the show being ‘Pun’.

The old agility was still present and the passion was undeniable, but it was the wobbling of the gut, the puffing of the cheeks and the profuse sweating that lent the performance its true magic.

I think this is why I relish writing for you so much. It makes it possible for me to be not like I am, but as I desire for Little Igor to see me. I can be funny, because I have time to meditate about how to be funny, and I can repair my mistakes when I perform mistakes, and I can be a melancholy person in matters that are interesting, not only melancholy. When writing, we have second chances

I remembered the last time I put this thing into my eye it was more painful than watching old political speeches while listening to the “Macarena” and having a root canal performed by an angry, clumsy chimp.

Elliott performed a dance called the Dance of the Twenty-Eight Veils in Times Swuare. It is on Youtibe. Many commenters described it as the most boring erotic dance ever performed in the history of the world.

It's funny, I thought, how the routine of life goes on, whatever happens; we do the same things, go through the little performance of eating, sleeping, washing. No crisis can break through the crust of habit.

I'm a terrible person. I should have stayed in college. I should have gone skydiving while I had the chance. I should have gone swimming with dolphins. I should have seen The Spice Girls perform on their reunion tour!

Let’s put to rest one cliché. You can sell refrigerators to Eskimos. The people of Savoonga are Yupiks, the westernmost of the Eskimo tribes, closer to Siberians than American Eskimos in their appearance, and their customs, and their distinctive, liquidly sibilant native language. And, yes, they all have refrigerators. In the winter, food gets freezer burn if left out in the elements. Eskimos need refrigerators to keep their food warm.

I laughed. “No, trust me, it’s a good thing. You’re cute and funny and talented too, and any girl would be lucky to date you.” “I sense a but coming,” he said wryly. “But—” “But she’s busy,” a smooth voice interrupted. “From tonight through the foreseeable future.” I turned, my pulse accelerating when I saw Alex standing less than five feet away. His gaze zeroed in on where I was still touching Jack’s arm. I pulled away, but it was too late. I could practically taste the danger pulsing in the air. Gone was the man who’d bared his soul onstage; in his place was the ruthless CEO who wouldn’t hesitate to crush his enemies into dust. “You’re the guy who performed tonight and is always waiting for Ava outside WYP.” Jack narrowed his eyes. “Who are you again?” “Someone who will rip your entrails out and strangle you with them if you don’t take your hands off her,” Alex said in a deceptively calm voice.

Nisker wasn’t really in the mood for an LSD trip. After all, he was in a car and heading toward the Oakland–San Francisco Bay Bridge. Then Scoop started thinking to himself. Well, the guy is the “high priest of LSD.” What else can I do? When else am I going to get a chance like this? So, Nisker dropped the acid. By the time they got to the radio station Scoop was so stoned he couldn’t put two words together. But Leary sat down behind the microphone and just let out all this beautiful, flowing prose. He was his usual glib, funny self. Nisker was melting into the floor, mumbling to himself. But there was Leary, totally in charge of himself—so charismatic, so facile. What a performance!

New Rule: Now that liberals have taken back the word "liberal," they also have to take back the word "elite." By now you've heard the constant right-wing attacks on the "elite media," and the "liberal elite." Who may or may not be part of the "Washington elite." A subset of the "East Coast elite." Which is overly influenced by the "Hollywood elite." So basically, unless you're a shit-kicker from Kansas, you're with the terrorists. If you played a drinking game where you did a shot every time Rush Limbaugh attacked someone for being "elite," you'd be almost as wasted as Rush Limbaugh. I don't get it: In other fields--outside of government--elite is a good thing, like an elite fighting force. Tiger Woods is an elite golfer. If I need brain surgery, I'd like an elite doctor. But in politics, elite is bad--the elite aren't down-to-earth and accessible like you and me and President Shit-for-Brains. Which is fine, except that whenever there's a Bush administration scandal, it always traces back to some incompetent political hack appointment, and you think to yourself, "Where are they getting these screwups from?" Well, now we know: from Pat Robertson. I'm not kidding. Take Monica Goodling, who before she resigned last week because she's smack in the middle of the U.S. attorneys scandal, was the third-ranking official in the Justice Department of the United States. She's thirty-three, and though she never even worked as a prosecutor, was tasked with overseeing the job performance of all ninety-three U.S. attorneys. How do you get to the top that fast? Harvard? Princeton? No, Goodling did her undergraduate work at Messiah College--you know, home of the "Fighting Christies"--and then went on to attend Pat Robertson's law school. Yes, Pat Robertson, the man who said the presence of gay people at Disney World would cause "earthquakes, tornadoes, and possibly a meteor," has a law school. And what kid wouldn't want to attend? It's three years, and you have to read only one book. U.S. News & World Report, which does the definitive ranking of colleges, lists Regent as a tier-four school, which is the lowest score it gives. It's not a hard school to get into. You have to renounce Satan and draw a pirate on a matchbook. This is for the people who couldn't get into the University of Phoenix. Now, would you care to guess how many graduates of this televangelist diploma mill work in the Bush administration? On hundred fifty. And you wonder why things are so messed up? We're talking about a top Justice Department official who went to a college founded by a TV host. Would you send your daughter to Maury Povich U? And if you did, would you expect her to get a job at the White House? In two hundred years, we've gone from "we the people" to "up with people." From the best and brightest to dumb and dumber. And where better to find people dumb enough to believe in George Bush than Pat Robertson's law school? The problem here in America isn't that the country is being run by elites. It's that it's being run by a bunch of hayseeds. And by the way, the lawyer Monica Goodling hired to keep her ass out of jail went to a real law school.

New Rule: Death isn’t always sad. This week, the Reverend Jerry Falwell died, and millions of Americans asked, “Why? Why, God? Why…didn’t you take Pat Robertson with him?” I don’t want to say Jerry was disliked by the gay community, but tonight in New York City, at exactly eight o’clock, Broadway theaters along the Great White Way turned their lights up for two minutes. I know you’re not supposed to speak ill of the dead, but I think we can make an exception, because speaking ill of the dead was kind of Jerry Falwell’s hobby. He’s the guy who said AIDS was God’s punishment for homosexuality and that 9/11 was brought on by pagans, abortionists, feminists, gays, and the ACLU—or, as I like to call them, my studio audience. It was surreal watching people on the news praise Falwell, followed by a clip package of what he actually said—things like: "Homosexuals are part of a vile and satanic system that will be utterly annihilated." "If you’re not a born-again Christian, you’re a failure as a human being." "Feminists just need a man in the house." "There is no separation of church and state." And, of course, everyone’s favorite: "The purple Teletubby is gay." Jerry Falwell found out you could launder your hate through the cover of “God’s will”—he didn’t hate gays, God does. All Falwell’s power came from name-dropping God, and gay people should steal that trick. Don’t say you want something because it’s your right as a human being—say you want it because it’s your religion. Gay men have been going at things backward. Forget civil right, and just make gayness a religion. I mean, you’re kneeling anyway. And it’s easy to start a religion. Watch, I’ll do it for you. I had a vision last night. The Blessed Virgin Mary came to me—I don’t know how she got past the guards—and she told me it’s time to take the high ground from the Seventh-day Adventists and give it to the twenty-four-hour party people. And that what happens in the confessional stays in the confessional. Gay men, don’t say you’re life partners. Say you’re a nunnery of two. “We weren’t having sex,officer. I was performing a very private mass.Here in my car. I was letting my rod and my staff comfort him.” One can only hope that as Jerry Falwell now approaches the pearly gates, he is met there by God Himself, wearing a Fire Island muscle shirt and nut-hugger shorts, saying to Jerry in a mighty lisp, “I’m not talking to you.

I don't think stand-up should really work on the page, so the very existence of this book is an indication of my ultimate failure as a comedian. The text of a stand-up set should be so dependent on performance and tone that it can't really work on the page, otherwise it's just funny writing.

Dave and Serge...played the Fiddler's Elbow as if it were Giants Stadium, and even though it was acoustic, they just about blew the place up. They were standing on chairs adn lying on the floor, they were funny, they charmed everyone in the pub apart from an old drunk ditting next to the drum kit...who put his fingers firmly in his ears during Serge's extended harmonica solo. It was utterly bizarre and very moving: most musicians wouldn't have bothered turning up, let alone almost killing themselves. And I was reminded...how rarely one feels included in a live show. Usually you watch, and listen, and drift off, and the band plays well or doesn't and it doesn't matter much either way. It can actually be a very lonely experience. But I felt a part of the music, and a part of the people I'd gone with, and, to cut this short before the encores, I didn't want to read for about a fortnight afterward. I wanted to write, but I didn't want to read no book. I was too itchy, too energized, and if young people feel like that every night of the week, then, yes, literature 's dead as a dodo. (Nick's thoughts after seeing Marah at a little pub called Fiddler's Elbow.)

For a stand-up comic, a minute on TV without a laugh was death. And Carson was adamant about the formula. He had recently stopped by the Improv to see Jay Leno and Andy Kaufman perform and had pronounced both of them “not ready,” telling Budd Friedman, “They’re funny, but they don’t have six minutes.” By

I looked exactly like the female version of George Costanza when I was in sixth grade… I insisted on dressing myself in monochromatic outfits. All my shirts had an animal performing an action on them. I had a pink sweater with penguins knitting to match my pink ribbed leggings. A hunter green shirt with dogs painting.

Each person if he was lucky found the place where he could shine, and the person he could shine on. At Cranley Gardens Johnny had been audience, to Evert, to Ivan, to the whole clever, memoir-swapping gang. But with Pat he was a closely attended performer - he was funny, almost articulate, and rich in things worth saying.

The impulse to laugh at healthy people who nonetheless fall down is by no means universal, however, was brought to my attention unpleasantly at a performance of Swan Lake by the Royal Ballet in London, England. I was in the audience with my daughter Nanny, who was about sixteen then. She is forty-one now, in the summer of 1996. That must have been twenty-five years ago now! A ballerina, dancing on her toes, went deedly-deedly-deedly into the wings as she was supposed to do. But then there was a sound backstage as though she had put her foot in a bucket and then gone down an iron stairway with her foot still in the bucket. I instantly laughed like hell. I was the only person to do so.

The butterflies were performing circus tricks now, flying through hoops of fire. Lexi had read about infatuation once. Some writer had doused the romantic notion of winged insects. He'd said the funny feeling was simply the motion of common sense fleeing the body. It made more sense, in a world where few things did. Lexi smiled, reveling in the feeling.

When he stepped back, I cradled the cups so my moobs spilled into them, and said, “I don’t even need the implants.” “For the zillionth time,” Lydia said, “they’re not ‘implants.’ We’re not performing surgery here, though if you use that word one more time, I might be tempted to get out an X-acto knife and make your wish come true.” I clasped the bra closer to my chest.

But then, a funny thing happens when a woman or a person of color is promoted to the head of the company. White male managers stop collaborating with their coworkers—especially their women coworkers and coworkers of color. Why do white men decrease their level of performance when a woman or person of color becomes CEO? Because suddenly they feel less connected to the company.

I think that this is why I relish writing for you so much. It makes it possible for me to be not like I am, but as I desire for Little Igor to see me. I can be funny, because I have time to meditate about how to be funny, and I can repair my mistakes when I perform mistakes, and I can be a melancholy person in manners that are interesting, not only melancholy. With writing, we have second chances.

He imagined a town called A. Around the communal fire they’re shaping arrowheads and carving tributes o the god of the hunt. One day some guys with spears come over the ridge, perform all kinds of meanness, take over, and the new guys rename the town B. Whereupon they hang around the communal fire sharpening arrowheads and carving tributes to the god of the hunt. Some climatic tragedy occurs — not carving the correct tributary figurines probably — and the people of B move farther south, where word is there’s good fishing, at least according to those who wander to B just before being cooked for dinner. Another tribe of unlucky souls stops for the night in the emptied village, looks around at the natural defenses provided by the landscape, and decides to stay awhile. It’s a while lot better than their last digs — what with the lack of roving tigers and such — plus it comes with all the original fixtures. they call the place C, after their elder, who has learned that pretending to talk to spirits is a fun gag that gets you stuff. Time passes. More invasions, more recaptures, D, E, F, and G. H stands as it is for a while. That ridge provides some protection from the spring floods, and if you keep a sentry up there you can see the enemy coming for miles. Who wouldn’t want to park themselves in that real estate? The citizens of H leave behind cool totems eventually toppled by the people of I, whose lack of aesthetic sense if made up for by military acumen. J, K, L, adventures in thatched roofing, some guys with funny religions from the eastern plains, long-haired freaks from colder climes, the town is burned to the ground and rebuilt by still more fugitives. This is the march of history. And conquest and false hope. M falls to plague, N to natural disaster — same climatic tragedy as before, apparently it’s cyclical. Mineral wealth makes it happen for the O people, and the P people are renowned for their basket weaving. No one ever — ever — mentions Q. The dictator names the city after himself; his name starts with the letter R. When the socialists come to power they spend a lot of time painting over his face, which is everywhere. They don’t last. Nobody lasts because there’s always somebody else. They all thought they owned it because they named it and that was their undoing. They should have kept the place nameless. They should have been glad for their good fortune, and left it at that. X, Y, Z.

Paul and I sat in lawn chairs in my yard, and usually we could cheer each other up by talking about Billy. It was September 1993, and he had been gone four months. We had started the thing you do, where you collect the stories you'll tell over and over again. You begin to polish the edges of a memory--something funny he said or a specific performance--until the edges are smoothed and the story is comforting.

9. How can we tell if a politician is telling the truth? Is there a way to know for sure? You may remember the old joke: “How do you know if a politician is lying? If he’s moving his lips.” It’s not that funny anymore, is it? Obviously, there is no certain way to know at the moment something is said. But remember this: past performance serves to reveal future behavior. A person who has exhibited a pattern of lying is a liar.

According to Mark 11:12-13, God's messengers were not the only ones who were incompetent: 'He [Jesus] was hungry. And on seeing in the distance a fig tree in leaf, he went to see if he could find anything on it. When he came to it, he found nothing but leaves, for it was not the season for figs.' Imagine Jesus, the divine, holy, wisest of the wise not knowing that figs were out of season. Now allegedly Jesus could have performed a miracle and made figs magically appear, but he preferred sour grapes instead: Then he said to the tree, 'May no one ever eat fruit from you again.' (Mark 11:14)

After our clips were seen on YouTube, we gained some fame and were invited to Dubai to kick off a five country tour of the region. This was a big deal because no American-based comedy troupe had ever gone to the Middle East to perform for Middle Eastern people. As a matter of fact, normally whenever Middle Easterners hear the words "American" and "troop" in a sentence, it usually means their country is about to be attacked. So it was important for us to emphasize the word "comedy" when publicizing our Dubai arrival. It was also important for us to spell troupe with a "u". What a difference a vowel makes.

As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers.

Danny’s Song” by Kenny Loggins “Reminder” by Mumford & Sons “Barton Hollow” by The Civil Wars “Like a Bridge Over Troubled Waters” by Simon and Garfunkel “I and Love and You” by The Avett Brothers “Make You Feel My Love” by Adele “Can’t Break Her Fall” by Matt Kearney  “Stillborn” by Black Label Society “Come On Get Higher” by Matt Nathanson “I Won’t Give Up” by Jason Mraz “This Girl” by City & Colour “My Funny Valentine” by Ella Fitzgerald “Dream a Little Dream of Me” by Ella Fitzgerald and Louis Armstrong “Stormy Blues” by Billie Holiday “I would be Sad” by The Avett Brothers “Hello, I’m Delaware” by City & Colour “99 Problems” by Hugo (originally written and performed by Jay-Z) “It’s Time” by Imagine Dragons “Let It Be Me” by Ray LaMontagne “Rocketship” by Guster “Don’t Drink The Water” by Dave Matthews Band “Blackbird” by The Beatles

Jase and I asked Mia what she wanted to do before her surgery. “How about a family party?” she suggested. So the invitation went out. It’s interesting when you mention to family members that they are going to be on TV--schwoom, they are there. As Willie said, “I didn’t know we had this much family.” Mia had always heard the funny stories about Jase wrestling with his brothers and cousins growing up, particularly how cousin Amy beat up Willie, so that’s what she requested for the special entertainment. As Jase said, “It’s the ultimate redneck dinner theater.” A wrestling ring was delivered, and the warmup act was the Robertson boys clowning around, performing their best wrestling moves. Willie surprised everyone with guest professional wrestlers, including Jase’s favorite, “Hacksaw” Jim Duggan. I felt kind of bad for them, wearing only their little wrestling pants, while the rest of us were bundled up in winter coats. Yes, it was January, but it was unusually cold in Louisiana--about twenty degrees. The wrestlers had to keep moving fast; otherwise, they would have frozen to death! At the end of the party, Mia took the stage between Jase and Willie, thanking everyone for coming and then sharing from her heart: “My favorite verse is Psalm 46:10: ‘Be still, and know that I am God!’ God is bigger than all of us, and He is bigger than any of your struggles, too.” I think I can say that there was hardly a dry eye in the crowd. Going into her surgery, Mia was being brave for all of us. In the end, seeing the final version of the episode, I thought the network did a great job of including enough humor to make people laugh but also providing a tender glimpse into the love our family shares with one another and the love we all have for Mia. When Duck Dynasty fans saw it on March 26, 2014, they agreed completely!

And he was introduced to Loki, the family’s hairless cat. “The kids wanted another pet,” Becky explained as Felix stared in horror at the creature beside him. “But with Polly’s allergies . . .” “You are lying to me. You borrowed this creature from a zoo to play a prank on me. This isn’t even really a cat, is it? This is some sort of rat and opossum hybrid. This is a lifelike Japanese robot that can dance to disco music.” “Funny. They’re called sphinx cats. Come on, feel her skin. Like peach fuzz, right? Isn’t she sweet? Give her a good rub. She’s very affectionate.” “Ah-ha, yes, isn’t that just . . . er, what is coating my hands?” “It’s . . . it’s like a body wax. I should’ve bathed her before you came. The hairless cats, they ooze this waxy stuff to protect their skin. ’Cause they don’t have hair. To protect them. So the waxy ooze helps. You see.” Felix stared at her for several seconds, his hands held up like a doctor about to perform surgery. “I’m going to wash my hands now. And I’m going to try very hard not to run out of this house screaming.

So we do go out to the San Jose highway to watch Cody recap tires—There he is wearing goggles working like Vulcan at his forge, throwing tires all over the place with fantastic strength, the good ones high up on a pile, “This one’s no good” down on another, bing, bang, talking all the time a long fantastic lecture on tire recapping which has Dave Wain marvel with amazement—(“My God he can do all that and even explain while he’s doing it”)—But I just mention in connection with the fact that Dave Wain now realizes why I’ve always loved Cody—Expecting to see a bitter ex con he sees instead a martyr of the American Night in goggles in some dreary tire shop at 2 A.M. making fellows laugh with joy with his funny explanations yet at the same time to a T performing every bit of the work he’s being paid for—Rushing up and ripping tires off car wheels with a jicklo, clang, throwing it on the machine, starting up big roaring steams but yelling explanations over that, darting, bending, flinging, flaying, till Dave Wain said he thought he was going to die laughing or crying right there on the spot.

Knuth: They were very weak, actually. It wasn't presented systematically and everything, but I thought they were pretty obvious. It was a different culture entirely. But the guy who said he was going to fire people, he wants programming to be something where everything is done in an inefficient way because it's supposed to fit into his idea of orderliness. He doesn't care if the program is good or not—as far as its speed and performance—he cares about that it satisfies other criteria, like any bloke can be able to maintain it. Well, people have lots of other funny ideas. People have this strange idea that we want to write our programs as worlds unto themselves so that everybody else can just set up a few parameters and our program will do it for them. So there'll be a few programmers in the world who write the libraries, and then there are people who write the user manuals for these libraries, and then there are people who apply these libraries and that's it. The problem is that coding isn't fun if all you can do is call things out of a library, if you can't write the library yourself. If the job of coding is just to be finding the right combination of parameters, that does fairly obvious things, then who'd want to go into that as a career? There's this overemphasis on reusable software where you never get to open up the box and see what's inside the box. It's nice to have these black boxes but, almost always, if you can look inside the box you can improve it and make it work better once you know what's inside the box. Instead people make these closed wrappers around everything and present the closure to the programmers of the world, and the programmers of the world aren't allowed to diddle with that. All they're able to do is assemble the parts. And so you remember that when you call this subroutine you put x0, y0, x1, y1 but when you call this subroutine it's x0, x1, y0, y1. You get that right, and that's your job.

I was a little scared of her. Even when she said she’d been harming herself there was still a little bit of Claire in her, some of the humor and charm, as though depression was something she could slip out of when she needed to engage with the world. When she needed to protect me from seeing it. But now she was clearly gone. I wondered if it really had to do with David or Trent or any of the men, or if the two just coincided. This seemed so much greater than men. “You’re going to be okay,” I said. But I wasn’t convincing. “I’m gutted. I really just don’t see the point of going on living,” she said. “It just seems so insane. Like, why would you?” “I don’t know,” I said, because truthfully I didn’t. “I’m probably not the best person to talk you out of suicide.” I was trying to make her laugh but she didn’t. Suicide was one of those things that, having been suicidal, in retrospect, I felt like I could talk about without being judgmental. But at the same time, there was no rational reason I could give her to live. Could I say that I was glad I lived? The thing was, I hadn’t really known I was suicidal until I woke up with the doughnuts. Also, even if things were better now, were they ever permanently better? Who was I to put that pressure on her to stay alive? But what kind of person didn’t try to talk their friend out of killing herself? I didn’t want to tell her that she had to live for her children. I knew she felt bad enough about them already. I could have told her what an amazing and fun and funny personality she was, but I knew that right now it all felt to her like just a performance. Her charming personality was only more heaviness—another mask she was going to have to pick up again to prove she hadn’t lost it in the depression. The only reason to put it on again was out of fear that she might never get it back. Otherwise, there was no real reason to have to put on a heavy costume every day. It was too tiring.

I found out Si was taking naps every day on Kay’s couch! I went to Phil and told him it was a problem. “Look, I know he’s your brother and he’s my uncle, but he’s not the kind of worker we need to have,” I told Phil, while trying to make a good first impression. I was trying to instill a new work ethic and culture in Duck Commander, and I couldn’t have Si sleeping on the job! “Don’t touch Si,” Phil told me. “You leave him alone. He’s making reeds and that’s the hardest thing we do. Si is the only guy who wants to do it, and he’s good at it. Si is fine.” Amazingly enough, in the ten years I’ve been running Duck Commander, we’ve never once run out of reeds. Six years ago, Si suffered a heart attack. He smoked cigarettes for almost forty years and then quit after his heart attack, so we were all so proud of him. Even before his heart attack, I wasn’t sure about putting Si on our DVDs because I thought he would just come across too crazy. He cracked us up in the duck blind and we all loved him, but I told Jep and the other camera guys to film around him. Honestly, I didn’t think anyone would understand what he was saying. When we finally tried to put him on the DVDs, he clammed up in front of the camera and looked like a frog in a cartoon just sitting there. He wouldn’t perform. Finally, we put a hidden camera under a shirt on Si’s desk. We were near the end of editing a DVD and showed a shooting scene to Si. He always takes credit for shooting more ducks than he really did. He’s said before that he killed three ducks with one shot! We were watching patterns hitting the water, and Si started claiming the ducks like he always does and going off on one of his long tangents. After we recorded him, we ran the DVD back and showed it to him. I think Si saw that he was actually pretty funny and entertaining if he acted like himself. We started putting Si on the DVDs and he got more and more popular. Now he’s the star of Duck Dynasty!

Yet in 2012, he returned. Plenty of the speechwriters were livid. The club was the embodiment of everything we had promised to change. Was it really necessary to flatter these people, just because they were powerful and rich? In a word, yes. In fact, thanks to the Supreme Court, the rich were more powerful than ever. In 2010, the court’s five conservative justices gutted America’s campaign finance laws in the decision known as Citizens United. With no more limits to the number of attack ads they could purchase, campaigns had become another hobby for the ultrawealthy. Tired of breeding racehorses or bidding on rare wines at auction? Buy a candidate instead! I should make it clear that no one explicitly laid out a strategy regarding the dinner. I never asked point-blank if we hoped to charm billionaires into spending their billions on something other than Mitt Romney’s campaign. That said, I knew it couldn’t hurt. Hoping to mollify the one-percenters in the audience, I kept the script embarrassingly tame. I’ve got about forty-five more minutes on the State of the Union that I’d like to deliver tonight. I am eager to work with members of Congress to be entertaining tonight. But if Congress is unwilling to cooperate, I will be funny without them. Even for a politician, this was weak. But it apparently struck the right tone. POTUS barely edited the speech. A few days later, as a reward for a job well done, Favs invited me to tag along to a speechwriting-team meeting with the president. I had not set foot in the Oval Office since my performance of the Golden Girls theme song. On that occasion, President Obama remained behind his desk. For larger gatherings like this one, however, he crossed the room to a brown leather armchair, and the rest of us filled the two beige sofas on either side. Between the sofas was a coffee table. On the coffee table sat a bowl, which under George W. Bush had contained candy but under Obama was full of apples instead. Hence the ultimate Oval Office power move: grab an apple at the end of a meeting, polish it on your suit, and take a casual chomp on your way out the door. I would have sooner stuck my finger in an electrical socket. Desperate not to call attention to myself, I took the seat farthest away and kept my eyes glued to my laptop. I allowed myself just one indulgence: a quick peek at the Emancipation Proclamation. That’s right, buddy. Look who’s still here. It was only at the very end of the meeting, as we rose from the surprisingly comfy couches, that Favs brought up the Alfalfa dinner. The right-wing radio host Laura Ingraham had been in the audience, and she was struck by the president’s poise. “She was talking about it this morning,” Favs told POTUS. “She said, ‘I don’t know if Mitt Romney can beat him.

Cat was no novice, but the term “sexual satisfaction” didn’t even come close to what Wilson McKay had done to her. It was magnificent. It was mind-bending. It was addictive. Wilson was almost blind with exhaustion, but he’d never felt better in his life. Just at the point of falling asleep, he felt Cat’s backside snuggling closer into his lap. “Uh…Wilson?” “Hmmm?” “Could we do that again?” He laughed out loud. It started like a rumble down deep in his belly and came up his throat in husky ripples, until the sound, like a blowout, burst behind Cat’s head. His laughter was infectious. A little embarrassed, she frowned, but when he buried his face against the back of her neck and kept laughing, she rolled out from beneath his grasp and punched him on the shoulder. Wilson had never, in his entire life as an adult, experienced this much passion and fun at the same time. He laughed until his belly hurt, and when he tried to pull her back down to him, she wouldn’t relent. “It wasn’t that funny,” Cat muttered. “On the contrary,” Wilson said. “You just weren’t looking at the request from my point of view. I was just lying there thinking that I’d never felt so used up and satisfied in my life, and then you’re asking about a repeat performance.

It wasn’t that funny,” Cat muttered. “On the contrary,” Wilson said. “You just weren’t looking at the request from my point of view. I was just lying there thinking that I’d never felt so used up and satisfied in my life, and then you’re asking about a repeat performance.” Cat lifted her chin in the air, then arched an eyebrow. “If the request was beyond your abilities, all you had to do was say so.” Wilson reached up and pulled her back down in his arms, then rolled until she was beneath him. When she looked up, her breath caught in the back of her throat. A bit of light was reflecting off the gold hoop in his ear, and there was a sheen of moisture on his lips, as if he’d just licked them. Without thinking, she ran the tip of her tongue along her bottom lip, and as she did, Wilson kissed her, hard and fast. Cat groaned. Wilson paused, then looked down at her. “Still interested?” he drawled. Cat’s nostrils flared as she locked her legs around his waist. Wilson’s eyes widened, then closed in disbelief. It was the last thing Cat saw before she pulled him under.

What made me fall the hardest for someone in the past was the fact that she made no attempt to hide her flaws. Instead, she would play with them and even flaunt them in a way that magically drew me closer. If she was late, she’d come up with a funny reason why. If her place was dirty, it was so I could watch her clean in front of me. She would often tease me and keep me on my toes. Too many women worry about being perceived as high maintenance, but as Allison Armstrong says: ‘It’s okay to be high maintenance as long as you’re high performance!’ And she was and I loved her, even though she was the most difficult woman I ever dated.

As crazy as it sounds, research shows that something as simple as watching funny cat videos on YouTube can enhance subsequent performance on cognitively-demanding tasks.

Then along came social media, the worst thing of all, the Cretin Unbound. Any moron could shout down Prometheus. The confederacy of dunces could descend like a pack and mock Apollo and Pythagoras. Now I’m putting an end to this circus. The clowns have performed long enough. The joke’s not funny anymore.

Tom's wife has been in a coma for months. Her attendants have noticed that every time they wash her crotch she moves a little bit. Desperate, they ask Tom if he would perform oral sex on his wife in an attempt to wake her up. Tom agrees and asks for some privacy in the room. Soon after, he rushes out in a panic and says, "I think she's choking!

A funny thing happens when you begin to take control of one part of your life—whether it is taking control physically, financially, or mentally: You gradually notice a positive change in other areas of your life, such as your personal relationships, your performance at work, and your ability to embrace your true passions.

After 30 years of coaching and teaching stand-up comedy to thousands, both in my workshops (longest continuous in LA) and private coachings; I finally wrote the book! It covers 1-Discovering your Comedic Character; 2- an 80-page workbook using the best joke formulas from over 25 years in my workshops: 3- How to put it all together, deal with audiences, clubs, and the biz.

Even the most basic CEO building blocks will feel unnatural at first. If your buddy tells you a funny story, it would feel quite weird to evaluate her performance. It would be totally unnatural to say, “Gee, I thought that story really sucked. It had potential, but you were underwhelming on the buildup and then you totally flubbed the punch line. I suggest that you go back, rework it, and present it to me again tomorrow.” Doing so would be quite bizarre, but evaluating people’s performances and constantly giving feedback is precisely what a CEO must do. If she doesn’t, the more complex motions such as writing reviews, taking away territory, handling politics, setting compensation, and firing people will be either impossible or handled rather poorly.

There is no clearer sign of the absence of originality among modern poets than their disposition to find new themes. Really original poets write poems about the spring. They are always fresh, just as the spring is always fresh. Men wholly without originality write poems about torture, or new religions, of some perversion of obscenity, hoping that the mere sting of the subject may speak for them. But we do not sufficiently realise that what is true of the classic ode is also true of the classic joke. A true poet writes about the spring being beautiful because (after a thousand springs) the spring really is beautiful. In the same way the true humourist writes about a man sitting down on his hat, because the act of sitting down on one’s hat (however often and however admirably performed) really is extremely funny. We must not dismiss a new poet because his poem is called To a Skylark; nor must we dismiss a humourist because his new farce is called My Mother-in-law. He may really have splendid and inspiring things to say upon an eternal problem. The whole question is whether he has.

All rational beings laugh--and maybe only rational beings laugh. And all rational beings benefit from laughing. As a result there has emerged a peculiar human institution--that of the joke, the repeatable performance in words or gestures that is designed as an object of laughter. Now there is a great difficulty in saying exactly what laughter is. It is not just a sound--not even a sound, since it can be silent. Nor is it just a thought, like the thought of some object as incongruous. It is a response to something, which also involves a judgment of that thing. Moreover, it is not an individual peculiarity, like a nervous tic or a sneeze. Laughter is an expression of amusement, and amusement is an outwardly directly, socially pregnant state of mind. Laughter begins as a collective condition, as when children giggle together over some absurdity. And in adulthood amusements remains one of the ways in which human beings enjoy each other's company, become reconciled to their differences, and accept their common lot. Laughter helps us to overcome out isolation and fortifies us against despair. That does not mean that laughter is subjective in the sense that 'anything goes,' or that it is uncritical of its object. On the contrary, jokes are the object of fierce disputes, and many are dismissed as 'not funny,' 'in bad taste,' 'offensive,' and so on. The habit of laughing at things is not detachable from the habit of judging things to be worthy of laughter. Indeed, amusement, although a spontaneous outflow of social emotion, is also the most frequently practiced form of judgment. To laugh at something is already to judge it.

She was beautiful. Creative. Talented. Sweet. Funny. Caring. Innocent and wise in the same breath. But she couldn’t perform miracles.

There happens to be a coffee bar in the lobby of the hotel. One afternoon while on a business trip in Las Vegas, I went to buy myself a cup of coffee. The barista working that day was a young man named Noah. Noah was funny and engaging. It was because of Noah that I enjoyed buying that cup of coffee more than I generally enjoy buying a cup of coffee. After standing and chatting for a while, I finally asked him, “Do you like your job?” Without skipping a beat Noah immediately replied, “I love my job!” Now, for someone in my line of business, that’s a significant response. He didn’t say, “I like my job,” he said, “I love my job.” That’s a big difference. “Like” is rational. We like the people we work with. We like the challenge. We like the work. But “love,” love is emotional. Love is something harder to quantify. It’s like asking someone “Do you love your spouse,” and they respond, “I like my spouse a lot.” It’s a very different answer. You get my point, love is a higher standard. So when Noah said, “I love my job,” I perked up. From that one response, I knew Noah felt an emotional connection to the Four Seasons that was bigger than the money he made and the job he performs. Immediately, I asked Noah a follow-up question. “Tell me specifically what the Four Seasons is doing that you would say to me that you love your job.” Again without skipping a beat, Noah replied, “Throughout the day, managers will walk past me and ask me how I’m doing, ask me if there is anything I need, anything they can do to help. Not just my manager … any manager. I also work for [another hotel],” he continued. He went on to explain that at his other job the managers walk past and try to catch people doing things wrong. At the other hotel, Noah lamented, “I keep my head below the radar. I just want to get through the day and get my paycheck. Only at the Four Seasons,” Noah said, “do I feel I can be myself.” Noah gives his best when he’s at the Four Seasons. Which is what every leader wants from their people. So it makes sense why so many leaders, even some of the best-intentioned ones, often ask, “How do I get the most out of my people?” This is a flawed question, however. It’s not a question about how to help our people grow stronger, it’s about extracting more output from them. People are not like wet towels to be wrung out. They are not objects from which we can squeeze every last drop of performance. The answers to such a question might yield more output for a time, but it often comes at a cost of our people and to the culture in the longer term. Such an approach will never generate the feelings of love and commitment that Noah has for the Four Seasons. A better question to ask is, “How do I create an environment in which my people can work to their natural best?

Education was still considered a privilege in England. At Oxford you took responsibility for your efforts and for your performance. No one coddled, and no one uproariously encouraged. British respect for the individual, both learner and teacher, reigned. If you wanted to learn, you applied yourself and did it. Grades were posted publicly by your name after exams. People failed regularly. These realities never ceased to bewilder those used to “democracy” without any of the responsibility. For me, however, my expectations were rattled in another way. I arrived anticipating to be snubbed by a culture of privilege, but when looked at from a British angle, I actually found North American students owned a far greater sense of entitlement when it came to a college education. I did not realize just how much expectations fetter—these “mind-forged manacles,”2 as Blake wrote. Oxford upholds something larger than self as a reference point, embedded in the deep respect for all that a community of learning entails. At my very first tutorial, for instance, an American student entered wearing a baseball cap on backward. The professor quietly asked him to remove it. The student froze, stunned. In the United States such a request would be fodder for a laundry list of wrongs done against the student, followed by threatening the teacher’s job and suing the university. But Oxford sits unruffled: if you don’t like it, you can simply leave. A handy formula since, of course, no one wants to leave. “No caps in my classroom,” the professor repeated, adding, “Men and women have died for your education.” Instead of being disgruntled, the student nodded thoughtfully as he removed his hat and joined us. With its expanses of beautiful architecture, quads (or walled lawns) spilling into lush gardens, mist rising from rivers, cows lowing in meadows, spires reaching high into skies, Oxford remained unapologetically absolute. And did I mention? Practically every college within the university has its own pub. Pubs, as I came to learn, represented far more for the Brits than merely a place where alcohol was served. They were important gathering places, overflowing with good conversation over comforting food: vital humming hubs of community in communication. So faced with a thousand-year-old institution, I learned to pick my battles. Rather than resist, for instance, the archaic book-ordering system in the Bodleian Library with technological mortification, I discovered the treasure in embracing its seeming quirkiness. Often, when the wrong book came up from the annals after my order, I found it to be right in some way after all. Oxford often works such. After one particularly serendipitous day of research, I asked Robert, the usual morning porter on duty at the Bodleian Library, about the lack of any kind of sophisticated security system, especially in one of the world’s most famous libraries. The Bodleian was not a loaning library, though you were allowed to work freely amid priceless artifacts. Individual college libraries entrusted you to simply sign a book out and then return it when you were done. “It’s funny; Americans ask me about that all the time,” Robert said as he stirred his tea. “But then again, they’re not used to having u in honour,” he said with a shrug.

Once you can consistently make people laugh, it’s essential to target your material so you don’t waste precious time preparing the wrong material for the wrong performer, to be delivered to the wrong audience, for the wrong purpose. This is true for all forms of humor writing.

MAPP stands for material, audience, performer, and purpose. A

Right on time, sugar.” Josh draped his arm around her shoulders and steered her through the lobby. “Traffic okay?” “Yeah, except when that alien spaceship landed on I-90 and then all those crickets jumped out to perform Beethoven’s Fifth on kazoos. Otherwise, clear sailing.

Sala conducted his own research. He chose 20 executives from a food-and-beverage company, half of whom had been rated as average performers by their colleagues while the other half were characterized as outstanding performers. All the executives took part in a two-hour interview on the topic of leadership performance. Two observers categorized the content of the interviews and noted humorous references. Humor that included put-downs of others was coded as negative, while humor used to point out funny things or absurdities was coded as positive. According to Sala, “The executives who had been ranked as outstanding used humor more than twice as often as average executives, a mean of 17.8 times per hour compared with 7.5 times per hour … When I looked at the executives’ compensation for the year, I found that the size of their bonuses correlated positively with their use of humor during the interviews. In other words, the funnier the executives were, the bigger the bonuses.

Ever since I was a child, ever since I became wrongly convinced I had to be bigger and smarter than I really was, I’ve been trying to perform, trying to convince people I was more capable than I really was. I’d been sending that same nine-year-old kid who took the tape recorder apart out into the world to speak and perform and interact with people. She asked me to come back and sit in the adult chair and tell the nine-year-old what I thought about him. I didn’t know what to say. She asked me to imagine what he looked like, and I immediately pictured the chubby kid from the movie The Goonies. I smiled. I liked the kid. He was funny and disarming and yet still only nine years old. He seemed alone and afraid, and the only way he could get attention was to convince everybody around him he was smarter and stronger than he actually was. My therapist asked me, again, to say something to him. I looked at him for a while and he looked back, wide eyed and curious. I finally spoke up and said I liked him. I told him I thought he was funny and charming and smart. “Anything else?” my therapist said. “Yeah,” I said. “I also want to say I’m sorry. I’m sorry for pushing you out there in the world so you could impress people for us and fight for us and make money for us while I sat in here and read books.” The moment was powerful for me. I’d completely disassociated from the kid who had taken apart his tape recorder. I hardly knew him. I’d not raised him to maturity and he’d spent the last thirty years lonely and desperate for attention. It’s no wonder I hid from the world. It’s no wonder parties made me tired or I got exhausted after I spoke. It’s no wonder criticism made me angry or I overreacted to failure. I think the part of me I sent out to interact with the world was, in some ways, underdeveloped, still trying to be bigger and smarter as a measure of survival.

Attitude at work shows attitude in life. If you want to know how people are doing in their lives, watch how they perform in their work. Do they have full commitment in giving their best to whatever they do? Do they treat their very act of being involved in an activity seriously? You can see that people who work halfheartedly are the very same people who get halfhearted results in life. The truth is we are always in a game because life is a game. We either play to win or not. Those who are serious about winning are the ones who do. Most people want to have fun playing the game, but winners are the ones who want to have serious fun. The most fun you can have in anything you do is by playing to win & by winning. The irony of life is that those who are not serious about life, end up in situations that are not funny. Winning results from the intention to win. The stronger your intent to win, the more your probabilities of winning. Playing to win mindset is considered obsolete by many, but you will see that whenever two evenly matched players are competing head to head, the one who is more intent on winning is the one who does. Individuals with strong intention of winning are able to overcome tougher challenges. Intention to win is important. Play to win.

As she spoke, I noticed her abnormal gesticulations with her hands. She seemed to flail them during unnecessary parts of the conversation for emphasis, and place them at her sides or in her pockets when they would be better served gesticulating. It was a dance I found myself enjoying watching her perform. “I promise,” I said, watching her every move, “no funny business. I didn’t travel 400 miles to fall for some girl, get her knocked up, and not finish school. It looks like we’re both here for the same thing. At least we’ve got our priorities straight.” “I’m glad we got that straightened out,” she said, matter of factly. “Why don’t you take me out for coffee and we can talk about our writing and what sort of reading schedule we’d like to get on?” We went to bed together three hours later.

The combined odors of Cass's subtle aftershave and the disgusting reek of Nic are overpowering. I wonder if Cass will keel over and I'll have to perform CPR. This speculation should not feel so much like a fantasy.

The funny thing about the heart, there is no wrong way to perform an act of kindness.

The most important mystery of ancient Egypt was presided over by a priesthood. That mystery concerned the annual inundation of the Nile flood plain. It was this flooding which made Egyptian agriculture, and therefore civilisation, possible. It was the centre of their society in both practical and ritual terms for many centuries; it made ancient Egypt the most stable society the world has ever seen. The Egyptian calendar itself was calculated with reference to the river, and was divided into three seasons, all of them linked to the Nile and the agricultural cycle it determined: Akhet, or the inundation, Peret, the growing season, and Shemu, the harvest. The size of the flood determined the size of the harvest: too little water and there would be famine; too much and there would be catastrophe; just the right amount and the whole country would bloom and prosper. Every detail of Egyptian life was linked to the flood: even the tax system was based on the level of the water, since it was that level which determined how prosperous the farmers were going to be in the subsequent season. The priests performed complicated rituals to divine the nature of that year’s flood and the resulting harvest. The religious elite had at their disposal a rich, emotionally satisfying mythological system; a subtle, complicated language of symbols that drew on that mythology; and a position of unchallenged power at the centre of their extraordinarily stable society, one which remained in an essentially static condition for thousands of years. But the priests were cheating, because they had something else too: they had a nilometer. This was a secret device made to measure and predict the level of flood water. It consisted of a large, permanent measuring station sited on the river, with lines and markers designed to predict the level of the annual flood. The calibrations used the water level to forecast levels of harvest from Hunger up through Suffering through to Happiness, Security and Abundance, to, in a year with too much water, Disaster. Nilometers were a – perhaps the – priestly secret. They were situated in temples where only priests were allowed access; Herodotus, who wrote the first outsider’s account of Egyptian life the fifth century BC, was told of their existence, but wasn’t allowed to see one. As late as 1810, thousands of years after the nilometers had entered use, foreigners were still forbidden access to them. Added to the accurate records of flood patters dating back centuries, the nilometer was an essential tool for control of Egypt. It had to be kept secret by the ruling class and institutions, because it was a central component of their authority. The world is full of priesthoods. The nilometer offers a good paradigm for many kinds of expertise, many varieties of religious and professional mystery. Many of the words for deliberately obfuscating nonsense come from priestly ritual: mumbo jumbo from the Mandinka word maamajomboo, a masked shamanic ceremonial dancer; hocus pocus from hoc est corpus meum in the Latin Mass. On the one hand, the elaborate language and ritual, designed to bamboozle and mystify and intimidate and add value; on the other the calculations that the pros make in private. Practitioners of almost every métier, from plumbers to chefs to nurses to teachers to police, have a gap between the way they talk to each other and they way they talk to their customers or audience. Grayson Perry is very funny on this phenomenon at work in the art world, as he described it in an interview with Brian Eno. ‘As for the language of the art world – “International Art English” – I think obfuscation was part of its purpose, to protect what in fact was probably a fairly simple philosophical point, to keep some sort of mystery around it. There was a fear that if it was made understandable, it wouldn’t seem important.

Taste-based loyalty is only one example of brands setting standards that are difficult to beat. Amazon taught Americans how one-click shopping works. WeChat showed Chinese consumers how to use a messaging app to pay for just about everything. Airbnb set our expectations for ways to find private accommodations. At times, a brand’s name becomes synonymous with the activity; we Google information, wipe our faces with Kleenex, and TikTok funny videos.

There was still another 75 minutes left to play. It didn’t matter. Those 75 minutes would end up as a footnote on Carli Lloyd’s stunning performance—one of the most dominant displays in a championship game anywhere, ever. The Americans won the World Cup, 5–2, but it was the performance of a lifetime for Lloyd. When the whistle blew, Lloyd dropped to her knees and cried. Heather O’Reilly ran from the bench straight to Lloyd and slid into her. Soon all the players found their way to one another for a frantic mishmash of hugs. Afterward, in the post-match press conference, Japanese coach Norio Sasaki told reporters: “Ms. Lloyd always does this to us. In London she scored twice. Today she scored three times. So we’re embarrassed, but she’s excellent.” Lloyd, for her part, almost downplayed the performance. She believed she could’ve scored one more goal. “I visualized playing in the World Cup final and visualized scoring four goals,” Lloyd said. “It sounds pretty funny, but that’s what it’s all about. At the end of the day, you can be physically strong, you can have all the tools out there, but if your mental state isn’t good enough, you can’t bring yourself to bigger and better things.

It has the funny kind of incomplete, semiabstract reality that scripts or scores have—they are programs, as it were, for real things in the world (the produced play, the performed music) that require adding a context, and decisions about that context affect the whole of the abstract object.

We take the original plays of William Shakespeare and Christopher Marlowe, and Markus gives them . . . well, the necessary polish.” “Aren’t the plays good enough by themselves?” Barbara asked. “Well, for the general public they’re sometimes just too difficult and dry, so we cut out the long monologues and concentrate on the funny parts and, above all, the bloody passages. Many of the pieces have not yet been translated into German, and Markus takes care of that, as well.” “I butcher Shakespeare’s plays by turning them into bloody spectacles for the masses,” Markus sighed in despair. “Carefully constructed pentameter, beautiful images—for that the world clearly has no taste nowadays. The more blood, the better. But I myself have written original pieces that—” “Yes, yes,” Malcolm interrupted, “that would be enough to make Shakespeare cry, I know—or simply put him to sleep. I’m afraid you’re boring the ladies, Markus. Just like your plays. We can’t afford experiments. After all, I have a whole troupe to feed,” he said, clapping his hands. “But now it’s time to get back to building the stage. Will you excuse us?” He bowed to Magdalena and Barbara and stomped off toward the stage, but not without first casting a final, reproachful look at his two actors. “Old slave driver,” Markus mumbled and followed him, while Matheo paused a moment and winked at Barbara. “Then can we look forward to seeing you again at tomorrow’s performance? We’ll save a few seats for you up in the gallery. Ciao, signorine.” “Ciao,” Barbara said, batting her eyelashes as Matheo, in one single, flowing movement, jumped back onto the stage. Magdalena grinned at her sister. “Ciao?” she asked. “Is that the way a Schongau hangman’s daughter says good-bye, or are you an Italian contessa addressing her prince just before their wedding?

But her words may have physically reached Todd’s ears, but psychologically they could not stick the landing and fairly soon the local police tore after the suspected criminal in a pointed arrow manner, the latter of whom performed all sorts of leaps and spins to escape arrest, but it was no use, being bowled over and struck down by the pursuers, and he wound up in a gutter and his clumsy gymnastics came to a halt in a 0-10 split.

It is an immutable law in business that words are words, explanations are explanations, promises are promises but only performance is reality. -Harold Geneen (1910 -97)

Sometimes I can even read you as well as you read me. You have no idea what you’re doing half the time. You have no idea who you are.” Perhaps not, Shea, but I know you are my lifemate. I could not harm you now. His face remained granite, his eyes dark and ice cold. She was right. He was dangerous. He knew it in his soul. His mind was not to be trusted. Her presence kept him tranquil, calm, but his mind was a maze of dark, deadly trails. He had no idea I he would be able to distinguish reality from nightmare if their delicately balanced world tilted in any way. His black eyes went a glittering obsidian, and he looked away from her, ashamed. He should allow her to leave, give her her freedom, but he could not. She was his only sanity his only path to the surface from the hellish nightmare he lived in. I have sworn to protect you, Shea. I can only promise it is in my heart to do so. Shea stepped away from the bed, suddenly close to tears. He was in a treacherous labyrinth; he walked a fine line between sanity and a world she did not want to try to comprehend. “I will protect you, Jacques. You have my solemn word, I won’t let you down. I’ll see you through this until you’re right again.” And then? His black gaze slid lazily over her. Do you intend to leave me, Shea? You save me, and then you think to desert me? There was a kind of dark humor in his voice, a secret amusement that stirred something in her she hadn’t known existed. Something that went beyond fear. Terror. Her chin tilted a little belligerently. “What does that mean? Of course I won’t desert you. I’ll stay with you and see you through this. We’ll find your family.” It was too late. Even if she attempted to put distance between them, she could not break their bond. His blood ran in her veins; his mind was familiar with the path to hers. Their souls called to one another. Hearts were following, and it was only matter of time before he possessed her body. Running would not save either of them. Jacques knew it with a certainty with which he knew few other things. But imparting the knowledge to her would frighten her more. His heart twisted, a funny somersault. His Shea feared death far less than she feared personal commitment. She really had no idea they were already bound together. She would need him, need him close, need him touching her in her mind, in her body. I feel your need to perform the human functions you seem to enjoy. Go bathe. I am in no hurry to have you examine my wounds.

The thing was: I accomplished a lot during that time when I was supposedly incapable of taking care of myself. In 2008, I won more than twenty awards, including a Cosmopolitan Ultimate Woman of the Year Award. At the VMAs, just one year after I'd been mocked for my "Gimme More" performance, I won three Moonmen. My video "Piece of Me" won every category it was nominated in, including Video of the Year. I thanked God, my sons, and my fans for standing by me. I sometimes thought that it was almost funny how I won those awards for the album I made while I was supposedly so incapacitated that I had to be controlled by my family. The truth was, though, when I stopped to think about it for very long, it wasn't funny at all.

The trial became, predictably, complex; the computer-run court had nothing in its circuits to allow for the trial of five newborn infants for assault and battery, interference with officials in the performance of their duties, foul and opprobrious language, or several other things, singly or all in a lump.

La Revue Nègre was a bold statement, drawing from the long history of both Black American vernacular dance and the minstrel and vaudeville theater in which Baker had performed in the United States. It contained elements of the shimmy and the shake, and challenged traditional Western European ideas of dance. “All of these moves that in the European mode would have been considered awkward become beautiful, sexy, silly, and savvy at the same time,” explains Dixon Gottschild. Later, as the performance evolved, Baker incorporated her famous banana skirt and, eventually, a pet cheetah who regularly made his way into the orchestra pit—elements that played into the idea of Baker as an exotic creature and added notes of vaudeville humor. Baker’s performances were complex, as are their legacy. Some have characterized her as a twentieth-century Sarah Baartman, another Black woman put on display for the titillation of fascinated, scandalized bourgeois white spectators. But she is often also criticized for exoticizing herself, knowingly participating in her own exploitation, playing into African stereotypes with her nudity, the banana skirt, and the cheetah. Others interpret La Revue Nègre as a means of reclaiming those stereotypes: Baker enthusiastically, and freely, participated in the performances and made lots of money doing it, and she surely understood that she was engaging with, and even subverting, stereotypes of Black femininity. She was also funny, and her performances always contained elements of humor and parody. From her early days as a chorus girl, she would add an element of knowingness by feigning being a bad dancer onstage for a laugh. She may have been sexualized and objectified by her largely white audience in Paris, but she also maintained significant control over what she was doing.

The funny thing is, it is actually incredibly easy to identify the high performers of low trust on any team. Simply go to the people on the team and ask them who the asshole is. They will likely all point to the same person.