Record Breaking Performance Quotes

more clearly you can picture the results you want, the more likely you are to deliver the performance that produces those results.

Strive hard to be among the top performers. To do this, create a standard. Go higher than this standard. Set another higher standard; surpass it and repeat the process.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

As Louie bent, gasping, over his spent legs, he marveled at the kick that he had forced from his body. It had felt very, very fast. Two coaches hurried up, gaping at their stopwatches, on which they had clocked his final lap. Both watches showed precisely the same time. In distance running in the 1930s, it was exceptionally rare for a man to run a last lap in one minute. This rule held even in the comparatively short hop of a mile: In the three fastest miles ever run, the winner’s final lap had been clocked at 61.2, 58.9, and 59.1 seconds, respectively. No lap in those three historic performances had been faster than 58.9. In the 5,000, well over three miles, turning a final lap in less than 70 seconds was a monumental feat. In his record-breaking 1932 Olympic 5,000, Lehtinen had spun his final lap in 69.2 seconds. Louie had run his last lap in 56 seconds.

Thus every individual category is subject to contamination, substitution is possible between any sphere and any other: there is a total confusion of types. Sex is no longer located in sex itself, but elsewhere - everywhere else, in fact. Politics is no longer restricted to the political sphere, but infects every sphere economics, science, art, sport ... Sport itself, meanwhile, is no longer located in sport as such, but instead in business, in sex, in politics, in the general style of performance. All these domains are affected by sport's criteria of 'excellence', effort and record-breaking, as by its childish notion of self-transcendence. Each category thus passes through a phase transition during which its essence is diluted in homeopathic doses, infinitesimal relative to the total solution, until it finally disappears, leaving a trace so small as to be indiscernible, like the 'memory of water' .

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I’m not sure why I thought it would be a good idea to bring Kanish to Mel Odious Sound yesterday. Bringing a Billionheir to a large recording complex full of Producers is like opening a bag of chips at a seagull convention. It wouldn’t be long before every Producer within earshot swooped in to aggressively pitch his latest and greatest pet project, most of which would likely prove unprofitable. Rev is obviously going to pitch a project, and it very well may be something amazing. But as I’ve pointed out, in order for Kanish to make a profit, he would have to pick up half the Publishing—a non-starter for the Rev. He’s not a Songwriting Producer, so he likely doesn’t have a sufficient portion of the Publishing to share. And even if he did, no seasoned Producer is going to give half of their equity in a song in order to basically secure a small loan from an outside investor. There’s no upside. For starters, Kanish has no channels of Distribution beyond Streaming, which is already available to anyone and everyone who wants it, and which is currently only profitable for the Major Labels and the stockholders of the Streaming services themselves. Everyone else is getting screwed. And please don’t quote me the Douchebag Big Tech Billionaires running big Streaming Corporations. They are literally lining their pockets with the would-be earnings of Artists and Songwriters alike. What they claim as fair is anything but. Frankly, I don’t think we should be comfortable with Spotify taking a 30 percent margin off the top, and then disbursing the Tiger’s Share of the remaining 70 percent to the Major Labels who have already negotiated top dollar for access to their catalog. This has resulted in nothing but some remaining scraps trickling down to the tens of thousands of Independent Artists out there who just want to make a living. You can’t make a living off scraps, or even a trickle, for that matter. Mark my words, we are currently witnessing the greatest heist in the annals of the Music Business, and that’s saying something given its history. Can you say Napster? Stunningly, the only place that Songwriters can make sufficient Performance Royalties is radio—a medium that is coming up on its hundred-year anniversary. To make matters worse, the Major Distributors still have radio all locked up, and without airplay, there’s no hit. So even now, more than twenty years into the Internet revolution, the odds of breaking through the artistic cacophony without Major-Label Distribution are impossibly low. So much for the Internet leveling the playing field. At this point, only Congress can solve the problem. And despite the fact that Streaming has been around since the mid-aughts, Congress has done nothing to deal with the issue. Why? Because it’s far cheaper for Big Tech to line the pockets of lobbyists and fund the campaigns of politicians who gladly ignore the issue than it is to pay Artists and Songwriters a fair rate for their work, my friends. Same is it ever was. Just so I’m clear, there is a debate to be had as to how much Songwriters and Artists should be paid for Streaming. A radio Spin can reach millions. A Stream rarely reaches more than a few listeners. Clearly, a new method of calculation is required. But that doesn’t mean that we should just sit by as the Big Tech Douchebags rob an entire generation of royalties all so they can sell their Streaming Corporation for billions down the line. I mean, that is the end game, after all. At which point, profit for the new majority stockholder will be all but impossible. How will anyone get paid then?

DATE: August 13, 1992 TO: Senior Managing Directors, Managing Directors, Associate Directors FROM: Alan C. Greenberg You are correct! It is exciting to be associated with Bear Stearns. The first six weeks of our new fiscal year have been a continuation of last year’s record-breaking performance. Top talent continues to join us and it looks like our head count will soon exceed the number we employed in October, 1987.

As I write this, I’m sitting in a café in Paris overlooking the Luxembourg Garden, just off of Rue Saint-Jacques. Rue Saint-Jacques is likely the oldest road in Paris, and it has a rich literary history. Victor Hugo lived a few blocks from where I’m sitting. Gertrude Stein drank coffee and F. Scott Fitzgerald socialized within a stone’s throw. Hemingway wandered up and down the sidewalks, his books percolating in his mind, wine no doubt percolating in his blood. I came to France to take a break from everything. No social media, no email, no social commitments, no set plans . . . except one project. The month had been set aside to review all of the lessons I’d learned from nearly 200 world-class performers I’d interviewed on The Tim Ferriss Show, which recently passed 100,000,000 downloads. The guests included chess prodigies, movie stars, four-star generals, pro athletes, and hedge fund managers. It was a motley crew. More than a handful of them had since become collaborators in business and creative projects, spanning from investments to indie film. As a result, I’d absorbed a lot of their wisdom outside of our recordings, whether over workouts, wine-infused jam sessions, text message exchanges, dinners, or late-night phone calls. In every case, I’d gotten to know them well beyond the superficial headlines in the media. My life had already improved in every area as a result of the lessons I could remember. But that was the tip of the iceberg. The majority of the gems were still lodged in thousands of pages of transcripts and hand-scribbled notes. More than anything, I longed for the chance to distill everything into a playbook. So, I’d set aside an entire month for review (and, if I’m being honest, pain au chocolat), to put together the ultimate CliffsNotes for myself. It would be the notebook to end all notebooks. Something that could help me in minutes but be read for a lifetime.

The first single was tracked at Media Arts Studio in Hermosa Beach, south of L.A.; the label copy helpfully dates the session—October 9, 1980. The producer is identified as “Screwy Louie.” The A side is a cover of “Under the Boardwalk,” the Drifters’ 1964 R&B ballad. David Hidalgo takes the soaring lead (his first solo vocal on record), effortlessly duplicating the tug of Johnny Moore’s original performance. But the number receives a twist in the band’s hands: in place of the lush string instrumental break on the Bert Berns–produced original, one hears a Tex–Mex button accordion solo. The flip was a rendering of “Volver, Volver,” a bolero penned by Fernando Z. Maldonado that had been an enormous hit for the Mexican ranchera superstar Vicente Fernández in 1976. Returning to his original role as the group’s ballad specialist, Cesar Rosas takes the lead vocal. Here the band offers an old-school East Side spin on the swaying, lushly romantic number, bringing some unidentified friends into the studio to scream and howl in the background, in the manner of the “live” supporting casts on Cannibal and the Headhunters’ “Land of 1000 Dances” or the Premiers’ “Farmer John.

Dylan, Duende, Death and Lorca Does Bob Dylan have Duende? DUENDE dancers perform moving, unique, unrepeatable performances Does Bob Dylan have duende? Do you have duende? What is duende? Duende is a Spanish word with two meanings. A duende is a goblin or a pixie that probably lives at the bottom of the garden and gives three wishes to old ladies who deserve a break. The duende was best defined by Spain’s great poet Federico García Lorca during a lecture he gave in New York in 1929 on Andalusian music known as cante jondo, or deep voice. ‘The duende,’ he said, ‘is a momentary burst of inspiration, the blush of all that is truly alive, all that the performer is creating at a certain moment.’ The difference between a good and a bad singer is that the good singer has the duende and the bad singer doesn’t. ‘There are no maps nor disciplines to help us find the duende. We only know that he burns the blood like a poultice of broken glass, that he exhausts, that he rejects all the sweet geometry we have learned.’ Some critics say Bob Dylan does not have a great voice. But more than any other performer since the birth of recorded music, Dylan has revealed the indefinable, spine-tingling something captured in Lorca’s interpretation of duende. ‘It is an inexplicable power of attraction, the ability to send waves of emotion through those watching and listening to them.’ ‘The duende,’ he continues, ‘resembles what Goethe called the demoniacal. It manifests itself principally among musicians and poets of the spoken word, for it needs the trembling of the moment and then a long silence.’ painting off hell by Hieronymus Bosch Hell & Hieronymus Bosch Four elements can be found in Lorca’s vision of duende: irrationality, earthiness, a heightened awareness of death and a dash of the diabolical. I agree with Lorca that duende manifests principally among singers, but would say that same magic may touch us when confronted by great paintings: Picasso’s Guernica, Edvard Munch’s The Scream, the paintings of heaven and hell by Hieronymus Bosch. The duende is found in the bitter roots of human existence, what Lorca referred to as ‘the pain which has no explanation.’ Artists often feel sad without knowing why. They sense the cruel inevitability of fate. They smell the coppery scent of death. All artists live in a permanent state of angst knowing that what they have created could have been better. Death with Duende It is not surprising that Spain found a need for the word duende. It is the only country where death in the bullring is a national spectacle, the only nation where death is announced by the explosion of trumpets and drums. The bullring, divided in sol y sombre – the light and shade, is the perfect metaphor for life and death, a passing from the light into darkness. Every matador who ever lived had duende and no death is more profound than death in the bullring.

Sometimes my soul feels very peaceful, happy to be contained. Other times it has the urge to send envoys into the world, and I find myself sending unguarded passionate messages, voice notes and even recordings of me singing to my friends. It makes me think of the bit in the song where Joni breaks into the Canadian national anthem. I find the whole song moving, but this particular part, her 'o Canada', sounds like a moment where she forgets the audience and performs in the way you might in a private scene with a lover, family member or friend. No one wants to be a lonely soul, only filled up with yourself and the abstractions of the soul in art. Like a squid stuffed with its own tentacles. A lonely painter, living in a box of paints. But, it occurs to me, needing to identify what or who the 'you' is when I sing Joni's song is another example of my ego troubling with a convention I don't really believe in. My 'you' could be liquid, flowing from one thing to another. It could contain many people and things, be so vast as to be God-sized, an oceanic you. Or it could be small and exact like a square of pure pigment, with a startling itselfness, which once it goes beyond me can transform all it touches.

Broadly speaking, the format for creating an implementation intention is: “When situation X arises, I will perform response Y.” Hundreds of studies have shown that implementation intentions are effective for sticking to our goals, whether it’s writing down the exact time and date of when you will get a flu shot or recording the time of your colonoscopy appointment. They increase the odds that people will stick with habits like recycling, studying, going to sleep early, and stopping smoking. Researchers have even found that voter turnout increases when people are forced to create implementation intentions by answering questions like: “What route are you taking to the polling station? At what time are you planning to go? What bus will get you there?” Other successful government programs have prompted citizens to make a clear plan to send taxes in on time or provided directions on when and where to pay late traffic bills.

Home-run hysteria peaked in 1998 when the Cards’ Mark McGwire and the Cubs’ Sammy Sosa battled to break perhaps the most sacred record in all of baseball, Roger Maris’s sixty-one home runs in a single season. Both players didn’t just break it; they shattered it: McGwire hitting seventy home runs and Sosa sixty-six. La Russa managed McGwire when he broke the record, and McGwire admitted that during the season he had taken a steroid precursor known as “Andro,” short for androstendione. Andro was available over the counter at the time, although the NFL and the Olympics had banned it. McGwire made no attempt to hide his use of it. He kept a bottle on the shelf of his locker in plain view, and La Russa does not believe that McGwire ever used anything other than Andro (he also stopped taking it in 1999 and still hit sixty-five home runs). He was big when he came into the league in 1986 and over time became dedicated to working out as often as six days a week in order to prevent further injuries. In the early 1990s, he actually lost weight to take pressure off a chronically sore heel; weight loss runs counter to the bloated look of someone on steroids. But the same could not be said of Canseco. Despite a body that ultimately metamorphosed into an almost cartoonish shape—Brutus meets Popeye—he denied throughout his career that he ever had taken steroids, until his playing days ended in 2002. Two weeks later, ever the performer, he admitted with much ballyhoo that he had indeed been on the juice. Rickey Henderson was another high-profile player who moved to his own brooding rhythms. In all of La Russa’s years of managing, no player in baseball has ever been more dangerous than Henderson with his combination of on-base percentage and base-stealing skills and power. Impervious to pressure unlike any player La Russa had ever seen before, he became a marked man around the league because he could beat you in so many ways, and he still starred for almost the entire decade of the 1980s.