Rocking Performance Quotes

I do this thing for Rosie, you sleep with me" I stared at him, open-mouthed and in stunned silence. I did, of course, understand what he meant but he explained further. "Not like last night, we'll both be naked and sexual acts will be performed." My expression didn't change except maybe my mouth opened wider. "I'll expect your participation." Holly shit. "Your avid participation." Dear Lord in Heaven. Eventually, I whispered, "You must be joking." He shook his head and watched me. I dropped my eyes, unable to hold his stqare. "I think I need more coffee," I told his throat.

When you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn't let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and which they think is effected by demons. Nothing is effected by demons, there are no demons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

After seven experiments with hundreds of children, we had some of the clearest findings I’ve ever seen: Praising children’s intelligence harms their motivation and it harms their performance. How can that be? Don’t children love to be praised? Yes, children love praise. And they especially love to be praised for their intelligence and talent. It really does give them a boost, a special glow—but only for the moment. The minute they hit a snag, their confidence goes out the window and their motivation hits rock bottom. If success means they’re smart, then failure means they’re dumb. That’s the fixed mindset.

Mitch---" "All right, baby, I'll shut you up." Then he did, his head slanting and his lips taking mine in a repeat performance of the open-mouthed, knock my socks off, rock my world, best kiss in the history of all time.

Shall I tell you what rock and roll is, Johnno, from someone who doesn't perform, but observes? It's restless and rude. It's defiant and daring. It's a fist shaken at age. It's a voice that often screams out questions because the answers are always changing. The very young play it because they're searching for some way to express their anger or joy, their confusion and their dreams. Once in a while, and only once in a while, someone comes along who truly understands, who has the gift to transfer all those needs and emotions into music.

I learned an important lesson: Never take the obvious for granted. Once upon a time, it was so obvious that a four-pound rock would plummet earthward twice as fast as a two-pound rock that no one ever bothered to test it. That is, until Galileo Galilei came along and took ten minutes to perform an elegantly simple experiment that yielded a counterintuitive result and changed the course of history.

Leaders can change the tenor of the workplace and create harmony in motion toward a favorable result. So every time you say to your team, "Let's rock and roll," make sure you have already set up the stage to where they can actually perform like rock stars.

For me performing has a lot to do with being fearless.

My sister's bringing up had made me sensitive. In the little world in which children have their existence whosoever brings them up, there is nothing so finely perceived and so finely felt, as injustice. It may be only small injustice that the child can be exposed to; but the child is small, and its world is small, and its rocking-horse stands as many hands high, according to scale, as a big-boned Irish hunter. Within myself, I had sustained, from my babyhood, a perpetual conflict with injustice. I had known, from the time when I could speak, that my sister, in her capricious and violent coercion, was unjust to me. I had cherished a profound conviction that her bringing me up by hand, gave her no right to bring me up by jerks. Through all my punishments, disgraces, fasts and vigils, and other penitential performances, I had nursed this assurance; and to my communing so much with it, in a solitary and unprotected way, I in great part refer the fact that I was morally timid and very sensitive.

For me performing has a lot to do with being fearless. I wrote an article for Artforum in the mideighties that had a line in it that the rock critic Greil Marcus quoted a lot: “People pay money to see others believe in themselves.” Meaning, the higher the chance you can fall down in public, the more value the culture places on what you do. Unlike, say, a writer or a painter, when you’re onstage you can’t hide from other people, or from yourself either.

The primary math of the real world is one and one equals two. The layman (as, often, do I) swings that every day. He goes to the job, does his work, pays his bills and comes home. One plus one equals two. It keeps the world spinning. But artists, musicians, con men, poets, mystics and such are paid to turn that math on its head, to rub two sticks together and bring forth fire. Everybody performs this alchemy somewhere in their life, but it’s hard to hold on to and easy to forget. People don’t come to rock shows to learn something. They come to be reminded of something they already know and feel deep down in their gut. That's when the world is at its best, when we are at our best, when life feels fullest, one and one equals three. It’s the essential equation of love, art, rock ’n’ roll and rock ’n’ roll bands. It’s the reason the universe will never be fully comprehensible, love will continue to be ecstatic, confounding, and true rock ’n’ roll will never die.

In one creative thought a thousand forgotten nights of love come to life again and fill it with majesty and exaltation. And those who come together in the nights and are entwined in rocking delight perform a solemn task and gather sweetness, depth, and strength for the song of some future poet, who will appear in order to say ecstasies that are unsayable.

I do this thing for Rosie, you sleep with me.” I stared at him, open-mouthed and in stunned silence. “Not like last night, we’ll both be naked and sexual acts will be performed.” My expression didn’t change except maybe my mouth opened wider. “I’ll expect your participation.” Holy shit. “Your avid participation.

These are the people who will encourage you to go after your dreams and will inspire you to succeed. Stick to them like a barnacle to a rock.

Mithra’s birth was witnessed by shepherds and by Magi who brought gifts to his sacred birth-cave of the Rock. Mithra performed the usual assortment of miracles: raising the dead, healing the sick, making the blind see and the lame walk, casting out devils.

The primary math of the real world is one and one equals two. The layman (as, often, do I) swings that every day. He goes to the job, does his work, pays his bills and comes home. One plus one equals two. It keeps the world spinning. But artists, musicians, con men, poets, mystics and such are paid to turn that math on its head, to rub two sticks together and bring forth fire. Everybody performs this alchemy somewhere in their life, but it’s hard to hold on to and easy to forget. People don’t come to rock shows to learn something. They come to be reminded of something they already know and feel deep down in their gut. That when the world is at its best, when we are at our best, when life feels fullest, one and one equals three. It’s the essential equation of love, art, rock ’n’ roll and rock ’n’ roll bands. It’s the reason the universe will never be fully comprehensible, love will continue to be ecstatic, confounding, and true rock ’n’ roll will never die.

Dear Deborah, Words do not come easily for so many men. We are taught to be strong, to provide, to put away our emotions. A father can work his way through his days and never see that his years are going by. If I could go back in time, I would say some things to that young father as he holds, somewhat uncertainly, his daughter for the very first time. These are the things I would say: When you hear the first whimper in the night, go to the nursery leaving your wife sleeping. Rock in a chair, walk the floor, sing a lullaby so that she will know a man can be gentle. When Mother is away for the evening, come home from work, do the babysitting. Learn to cook a hotdog or a pot of spaghetti, so that your daughter will know a man can serve another's needs. When she performs in school plays or dances in recitals, arrive early, sit in the front seat, devote your full attention. Clap the loudest, so that she will know a man can have eyes only for her. When she asks for a tree house, don't just build it, but build it with her. Sit high among the branches and talk about clouds, and caterpillars, and leaves. Ask her about her dreams and wait for her answers, so that she will know a man can listen. When you pass by her door as she dresses for a date, tell her she is beautiful. Take her on a date yourself. Open doors, buy flowers, look her in the eye, so that she will know a man can respect her. When she moves away from home, send a card, write a note, call on the phone. If something reminds you of her, take a minute to tell her, so that she will know a man can think of her even when she is away. Tell her you love her, so that she will know a man can say the words. If you hurt her, apologize, so that she will know a man can admit that he's wrong. These seem like such small things, such a fraction of time in the course of two lives. But a thread does not require much space. It can be too fine for the eye to see, yet, it is the very thing that binds, that takes pieces and laces them into a whole. Without it, there are tatters. It is never too late for a man to learn to stitch, to begin mending. These are the things I would tell that young father, if I could. A daughter grown up quickly. There isn't time to waste. I love you, Dad

Friendship is a difficult thing to define. Oscar here is my oldest friend. How would you define friendship, Oscar?" Oscar grunts slightly, as though the answer is obvious. "Friendship is about choice and chemistry. It cannot be defined." "But surely there's something more to it than that." "It is a willingness to overlook faults and to accept them. I would let a friend hurt me without striking back," he says, smiling. "But only once." De Souza laughs. "Bravo, Oscar, I can always rely on you to distill an argument down to its purest form. What do you think, Dayel?" The Indian rocks his head from side to side, proud that he has been asked to speak next. "Friendship is different for each person and it changes throughout our lives. At age six it is about holding hands with your best friend. At sixteen it is about the adventure ahead. At sixty it is about reminiscing." He holds up a finger. "You cannot define it with any one word, although honesty is perhaps the closest word-" "No, not honesty," Farhad interrupts. "On the contrary, we often have to protect our friends from what we truly think. It is like an unspoken agreement. We ignore each other's faults and keep our confidences. Friendship isn't about being honest. The truth is too sharp a weapon to wield around someone we trust and respect. Friendship is about self-awareness. We see ourselves through the eyes of our friends. They are like a mirror that allows us to judge how we are traveling." De Souza clears his throat now. I wonder if he is aware of the awe that he inspires in others. I suspect he is too intelligent and too human to do otherwise. "Friendship cannot be defined," he says sternly. "The moment we begin to give reasons for being friends with someone we begin to undermine the magic of the relationship. Nobody wants to know that they are loved for their money or their generosity or their beauty or their wit. Choose one motive and it allows a person to say, 'is that the only reason?'" The others laugh. De Souza joins in with them. This is a performance. He continues: "Trying to explain why we form particular friendships is like trying to tell someone why we like a certain kind of music or a particular food. We just do.

The uncreative mind can spot wrong answers, but it takes a very creative mind to spot wrong questions. ANTHONY JAY

Your brain craves patterns and searches for them endlessly. THOMAS B. CZERNER (2001)

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

As the drummer, I know that drums fully support the band. Their rhythm keeps things within the pulse and contributes to the overall energy of each performance. I am a very balanced person and I realize that through my personal level of balance, I also outwardly balance Stjepan and Luka.

I am friends with Kathleen Hanna and Adam Horovitz, aka Ad-Rock from the Beastie Boys. I can’t believe I am friends with them. I love Kathleen’s music and I am in awe of her social activism and general awesomeness. I asked her to interview me for Interview magazine when I was just a sketch performer whom nobody knew. She said yes because she supports young women. This is the artist who pulled women to the front at her rock shows. She shows up and does the work and is the real deal. Now she is my friend.

He describes three types of happiness: pleasure, passion, and higher purpose.1            1.    Pleasure: This type of happiness is about always chasing the next high. It is the rock-star type of happiness because it is very hard to maintain unless you are living the lifestyle of a rock star.            2.    Passion: Also known as “flow,” where peak performance meets peak engagement, and time flies by.            3.    Higher Purpose: This is about being part of something bigger than yourself that has meaning to you.

To enjoy worship for its own sake, or simply out of a cultural appreciation of the 'performance' (whether of Byrd or heavy rock), would be like Moses coming upon the burning bush and deciding to cook his lunch on it.

Hema thought of Shiva, her personal deity, and how the only sensible response to the madness of life . . . was to cultivate a kind of madness within, to perform the mad dance of Shiva, . . . to rock and sway and flap six arms and six legs to an inner tune. Hema moved gently . . . she danced as if her minimalist gestures were shorthand for a much larger, fuller, reckless dance, one that held the whole world together, kept it from extinction.

BlackRock CEO Larry Fink argued that “purpose is not the sole pursuit of profits but the animating force for achieving them. Profits are in no way inconsistent with purpose—in fact, profits and purpose are inextricably linked.

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

You were willing. Look, Kamala, when you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn’t let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and of which they think it would be effected by means of the demons. Nothing is caused by demons, there are no demons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

His voice just stops, exactly like when the needle is lifted from a phonograph record by the hand of someone who is not listening to the record. [...] She speaks the same dead, level tone: two bodiless voices in monotonous strophe and anistrophe: to bodiless voices recounting dreamily something performed in a region without dimension by people without blood [...] Two of them are also motionless, the woman with that stonevisaged patience of a waiting rock, the old man with a spent quality like the charred wick of a candle from which the flame has been violently blown away.

One day in the life of Ivan Denisovich laying bricks in Siberia probably generated a higher level of happiness than one day in the life of a retired rock star in a Manhattan penthouse with all the beer he could drink. Work was crucial to sanity. Which was probably why George continued to perform on the cruise ship.

Fifteen years ago, the cultural critic Greil Marcus wrote of Jimi's performance of our national anthem as "his great NO to the war, to racism, to whatever you or he might think of and want gone. But then that discord shattered, and for more than four and a half long, complex minutes Hendrix pursued each invisible crack in a vessel that had once been whole, feeling out and exploring and testing himself and his music against anguish, rage, fear, hate, love offered, and love refused. When he finished, he had created an anthem that could never be summed up and that would never come to rest. In the end it was a great YES, both a threat and a beckoning, an invitation to America to match its danger, glamour, and freedom." ... In late 1969, Jimi Hendrix wrote a poem celebrating Woodstock, saying with words what his music had in August: "500,000 halos outshined the mud and history. We washed and drank in God's tears of joy. And for once, and for everyone, the truth was not still a mystery.

An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll. (...) A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.

Here is a Hawaiian legend once told to me: Sometimes the dead don't want to be dead. Sometimes souls go flitting around in the air, particles of light, drifting, until a mortal crams the soul back inside its bod. The kino wailua, or spirits, can be spotted anywhere, the face of a rock, a mountainside - a Hawaiian should always look for facial features. It is the mortal's job to perform the kapuku, or resuscitation process. It is our duty to sneak the soul beneath the toenail of a body, let the body rise up like a newly watered plant.

we see the world as we are, not as the world is.

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

If Elvis ..is the definition of rock, then rock is remembered as showbiz...It becomes a solely performative art form, where the meaning of a song matters less than the person singing it. It becomes personality music...if Dylan...becomes the definition of rock, everything reverses. In this contingency, lyrical authenticity becomes everything: Rock is galvanized as an intellectual craft, interlocked with the folk tradition...The fact that Dylan does not have a conventionally "good" singing voice becomes retrospective proof that rock audiences prioritized substance over style...

The only one of the candidates this year who has consistently ignored and broken every rule in the Traditional Politicians Handbook is George Wallace. He doesn’t do plant gates and coffee klatches. Wallace is a performer, not a mingler. He campaigns like a rock star, working always on the theory that one really big crowd is better than forty small ones. But to hell with these theories.

We are not called to be entertainers or performers, we are called to praise and worship our creator. 'Oh come, let us sing to the Lord; let us make a joyful noise to the rock of salvation.' (Psalms95:1).

Slow rocking increased the depth of deep sleep, boosted the quality of slow brainwaves, and more than doubled the number of sleep spindles. It is not yet known whether these sway-induced sleep changes enhance memory, since the researchers did not perform any such tests with their participants. Nevertheless, the findings offer a scientific explanation for the ancient practice of rocking a child back and forth in one’s arms, or in a crib, inducing a deep sleep.

Which didn't explain why Brant remained outside with Elizabeth, even when he started to suffer from heatstroke. Or maybe heatstroke was only the excuse he used for what happened next. With one eye pinned on Elizabeth, he stripped off his shirt, something he rarely did, and proceeded to perform feats of strength. He moved large rocks for no good reason, grunting as if he were leg-pressing a good five hundred pounds. He welded hedge clippers like Edward Scissorhands. And hoed like a lumberjack bent on clearing the Sierras. It was heatstroke. It had to be. There was no other way to explain a thirty-eight-year-old man flexing and posing for a woman like some goddamned body builder in a competition. And the worst part about it was she didn't even pay him the slightest bit of attention.

… rock ‘n’ roll may be more than anything a continuum of associations, a drama of direct and spectral connections between songs and performers It may be a story about the way a song will continue speaking in a radically different setting than the one that, it may have seemed, gave rise to it, a story in which someone may own the copyright but the voice of the song is under no one’s control. Rock ‘n’ roll may be most of all a language that, it declares can say anything: divine all truths, reveal all mysteries, escape all restrictions.

Here’s my full list of guidelines for how to apply the principles of this chapter to email communication. 1. Emails should contain as few words as possible. 2. Make it easy to see your central point at a glance, in one screen. 3. Never send an email that could emotionally affect another person unless it’s pure positive feedback. 4. Emotional issues must be discussed by phone; email should be used only to book a time for a call. 5. If you accidentally break rule number four, phone the person immediately, apologize, and discuss the issue by phone.

I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble. There was snow on the windowledge. Some rags and an unloved ruffled shirt of mine had been stuffed into places where the window frame was warped and cold air entered. The refrigerator was unplugged, full of record albums, tapes, and old magazines. I went to the sink and turned on both taps all the way, drawing an intermittent trickle. Least is best. I tried the radio, picking up AM only at the top of the dial, FM not at all." The industrial loft buildings along Great Jones seemed misproportioned, broad structures half as tall as they should have been, as if deprived of light by the great skyscraper ranges to the north and south." Transparanoia owns this building," he said. She wanted to be lead singer in a coke-snorting hard-rock band but was prepared to be content beating a tambourine at studio parties. Her mind was exceptional, a fact she preferred to ignore. All she desired was the brute electricity of that sound. To make the men who made it. To keep moving. To forget everything. To be that sound. That was the only tide she heeded. She wanted to exist as music does, nowhere, beyond maps of language. Opal knew almost every important figure in the business, in the culture, in the various subcultures. But she had no talent as a performer, not the slightest, and so drifted along the jet trajectories from band to band, keeping near the fervers of her love, that obliterating sound, until we met eventually in Mexico, in somebody's sister's bed, where the tiny surprise of her name, dropping like a pebble on chrome, brought our incoherent night to proper conclusion, the first of all the rest, transactions in reciprocal tourism. She was beautiful in a neutral way, emitting no light, defining herself in terms of attrition, a skinny thing, near blond, far beyond recall from the hard-edged rhythms of her life, Southwestern woman, hard to remember and forget...There was never a moment between us that did not measure the extent of our true connection. To go harder, take more, die first.

To avoid being mistaken for a sellout, I chose my friends carefully. The more politically active black students. The foreign students. The Chicanos. The Marxist professors and structural feminists and punk-rock performance poets. We smoked cigarettes and wore leather jackets. At night, in the dorms, we discussed neocolonialism, Franz Fanon, Eurocentrism, and patriarchy. When we ground out our cigarettes in the hallway carpet or set our stereos so loud that the walls began to shake, we were resisting bourgeois society’s stifling constraints. We weren’t indifferent or careless or insecure. We were alienated. But

I am not SURE whether people have watched DID show from ZEE TV or not, Its big ambiguity that they have really liked Teriya Magar's performance or of anyone else. But I'm SURE that they have voted Teriya and even begged others fellows to vote her. This way patriotism rocks and talent is sucked........ - Anup Joshi

This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.

I am not SURE whether people have watched DID show from ZEE TV or not, Its big ambiguity whether they have really liked Teriya Magar's performance or of anyone else. But I'm SURE that they have voted Teriya and even begged other fellows to vote her just because she IS NEPALI. This way patriotism rocks and talent is sucked........

His own life on earth was short, limited; the beauty and splendor of Mount Fuji eternal. Annoyed and a little depressed, he asked himself how he could possibly attach any importance to his accomplishments with the sword. There was an inevitability in the way nature rose majestically and sternly above him; it was in the order of things that he was doomed to remain beneath it. He fell on his knees before the mountain, hoping his presumptuousness would be forgiven, and clasped his hands in prayer—for his mother’s eternal rest and for the safety of Otsū and Jōtarō. He expressed his thanks to his country and begged to be allowed to become great, even if he could not share nature’s greatness. But even as he knelt, different thoughts came rushing into his mind. What had made him think man was small? Wasn’t nature itself big only when it was reflected in human eyes? Didn’t the gods themselves come into existence only when they communicated with the hearts of mortals? Men—living spirits, not dead rock—performed the greatest actions of all. “As a man,” he told himself, “I am not so distant from the gods and the universe. I can touch them with the three-foot sword I carry. But not so long as I feel there is a distinction between nature and humankind. Not so long as I remain distant from the realm of the true expert, the fully developed man.

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

Sancho tried to be gentle. In his way. He was, for his kind, as Joshua would learn, exceptionally intelligent. But he was a humanoid, the size and strength of a large orang-utan, and he had performed no action in his life more delicate than the chipping of a blade from a chunk of rock. He picked Joshua up and threw him over his shoulder like a sack of coal. Joshua

To avoid being mistaken for a sellout, I chose my friends carefully. The more politically active black students. The foreign students. The Chicanos. The Marxist professors and structural feminists and punk-rock performance poets. We smoked cigarettes and wore leather jackets. At night, in the dorms, we discussed neocolonialism, Franz Fanon, Eurocentrism, and patriarchy.

She was free in her wildness. She was a wanderess, a drop of free water. She belonged to no man and to no city. (by Roman Payne, from “The Wanderess.” How this quote became so popular, I have no idea. I wrote it about one woman: The heroine of “The Wanderess,” Saskia; yet I wrote these lines to describe Saskia at her best—praising the qualities of a heroine that all women should strive to have, or keep if they have them. I wrote these lines to make Saskia be like a statue of Psyche or Demeter. The masculine sculptor doesn’t see rock when he carves Aphrodite. He sees before him the carving of the perfect feminine creature. I was creating my ‘perfect feminine creature’ when I wrote about Saskia. She is completely wild and fearless in her dramatic performance of life. She knows that she may only have one life to live and that most people in her society wish to see her fail in her dream of living a fulfilled life. For if a woman acts and lives exactly as society wants her to live, she will never be truly happy, never fulfilled. For societies do not want girls and women to wander. I am surprised that this quote became so famous, since I didn’t spend more than a few seconds writing it. It was written merely as three sentences in a novel. I didn’t write it to be a solitary poem. This quote that touches so many people is no more than an arrangement of twenty-four words in a book of three-hundred pages. What touches me the most is when fans send me photos of tattoos they’ve had done of this quote—either a few words from it or the whole quote. The fact that these wonderful souls are willing to guard words that I’ve written on their precious skin for the rest of their lives makes me feel that what I am writing is worth something and not nothing. When I get depressed and feel the despair that haunts me from time to time, and cripples me, I look at these photos of these tattoos, and it helps me to think that what I am doing is important to some people, and it helps me to start writing again. Am I a masculine version of the wanderess in this quote? Of course I am! I am wild and fearless, I am a wanderer who belongs to no city and to nobody; I am a drop of free water. I am—to cite one of my other quotes—“free as a bird. King of the world and laughing!

The dreamtime infuses all matter and energy, connecting every creature, every rock, every star, and every ray of light or bit of cosmic dust. The power to dream, then, is the power to participate in creation itself. Dreaming reality is not only an ability but a duty, one all humans must perform with grace so that our grandchildren will inherit a world where they can live in peace and abundance.

NO PERFORMANCE MANAGEMENT OR EMPLOYEE FEEDBACK PROCESS Your company now employs twenty-five people and you know that you should formalize the performance management process, but you don’t want to pay the price. You worry that doing so will make it feel like a “big company.” Moreover, you do not want your employees to be offended by the feedback, because you can’t afford to lose anyone right now. And people are happy, so why rock the boat? Why not take on a little management debt? The first noticeable payments will be due when somebody performs below expectations: CEO: “He was good when we hired him; what happened?” Manager: “He’s not doing the things that we need him to do.” CEO: “Did we clearly tell him that?” Manager: “Maybe not clearly . . .” However, the larger payment will be a silent tax. Companies execute well when everybody is on the same page and everybody is constantly improving. In a vacuum of feedback, there is almost no chance that your company will perform optimally across either dimension. Directions with no corrections will seem fuzzy and obtuse. People rarely improve weakness they are unaware of. The ultimate price you will pay for not giving feedback: systematically crappy company performance.

All of us believe you belong here,” I’d said to the Elizabeth Garrett Anderson girls as they sat, many of them looking a little awestruck, in the Gothic old-world dining hall at Oxford, surrounded by university professors and students who’d come out for the day to mentor them. I said something similar anytime we had kids visit the White House—teens we invited from the Standing Rock Sioux Reservation; children from local schools who showed up to work in the garden; high schoolers who came for our career days and workshops in fashion, music, and poetry; even kids I only got to give a quick but emphatic hug to in a rope line. The message was always the same. You belong. You matter. I think highly of you. An economist from a British university would later put out a study that looked at the test performances of Elizabeth Garrett Anderson students, finding that their overall scores jumped significantly after I’d started connecting with them—the equivalent of moving from a C average to an A. Any credit for improvement really belonged to the girls, their teachers, and the daily work they did together, but it also affirmed the idea that kids will invest more when they feel they’re being invested in. I understood that there was power in showing children my regard.

I never performed for George W. Bush, and wouldn’t have. I disliked the man intensely. I thought he was a dunderhead, without intellect. And his father made certain that Dick Cheney was chosen as his VP. In my opinion Cheney’s one of the most evil men on the planet. Anyone who would vote against every environmental and equal-rights issue, as well as voting to keep Nelson Mandela in prison, is not of this earth and doesn’t deserve my support.

I swear to fuck, Alex. If you keep playing with your asshole I’m going to play with it for you.” “You were touching yourself.” “I creamed my jeans like a schoolgirl, Alex. You came with no touching. You looked like... You’re a natural.” “A natural,” Alex repeats, trying to wrap his mind around that. Natural porn performer? Natural bottom? Neither really sounds that prestigious, but Peter’s talking about it like he just won the World Series of Taking Big Cocks Up the Butt.

More people than ever are being paid to think, instead of just doing routine tasks. Yet making complex decisions and solving new problems is difficult for any stretch of time because of some real biological limits on your brain. Surprisingly, one of the best ways to improve mental performance is to understand these limits. In act 1, Emily discovers why thinking requires so much energy, and develops new techniques for dealing with having too much to do. Paul learns about the space limits of his brain, and works out how to deal with information overload. Emily finds out why it’s so hard to do two things at once, and rethinks how she organizes her work. Paul discovers why he is so easily distracted, and works on how to stay more focused. Then he finds out how to stay in his brain’s “sweet spot.” In the last scene, Emily discovers that her problem-solving techniques need improving, and learns how to have breakthroughs when she needs them most.

God performed miracles for our ancestors, Jude. We both know the stories of how He parted the sea and brought water from a rock and gave us manna to eat in the desert. He made a covenant with us, promising to always be our God—and He’ll keep that promise. He will!” She was trying to convince herself as well as Jude. “I know things look bad right now, but we just need a little time to find a way out. Our armies have been outnumbered before, but God always came through for us and saved us.” “Not

standout performance correlated to affirmative responses to these five questions: Structure and clarity: Are goals, roles, and execution plans on our team clear? Psychological safety: Can we take risks on this team without feeling insecure or embarrassed? Meaning of work: Are we working on something that is personally important for each of us? Dependability: Can we count on each other to do high-quality work on time? Impact of work: Do we fundamentally believe that the work we’re doing matters?

I travel your body, like the world, your belly is a plaza full of sun, your breasts two churches where blood performs its own, parallel rites, my glances cover you like ivy, you are a city the sea assaults, a stretch of ramparts split by the light in two halves the color of peaches, a domain of salt, rocks and birds, under the rule of oblivious noon, dressed in the color of my desires, you go your way naked as my thoughts, I travel your eyes, like the sea, tigers drink their dreams in those eyes, the hummingbird burns in those flames, I travel your forehead, like the moon, like the cloud that passes through your thoughts, I travel your belly, like your dreams, your skirt of corn ripples and sings, your skirt of crystal, your skirt of water, your lips, your hair, your glances rain all through the night, and all day long you open my chest with your fingers of water, you close my eyes with your mouth of water, you rain on my bones, a tree of liquid sending roots of water into my chest

neuroscientists monitored guitarists playing a short melody together, they found that patterns in the guitarists’ brain activity became synchronized. Similarly, studies of choir singers have shown that singing aligns performers’ heart rates. Music seems to create a sense of unity on a physiological level. Scientists call this phenomenon synchrony and have found that it can elicit some surprising behaviors. In studies where people sang or moved in a coordinated way with others, researchers found that subjects were significantly more likely to help out a partner with their workload or sacrifice their own gain for the benefit of the group. And when participants rocked in chairs at the same tempo, they performed better on a cooperative task than those who rocked at different rhythms. Synchrony shifts our focus away from our own needs toward the needs of the group. In large social gatherings, this can give rise to a euphoric feeling of oneness—dubbed “collective effervescence” by French sociologist Émile Durkheim—which elicits a blissful, selfless absorption within a community.

That spring everyone in Judy Chicago’s class collaborated on a 24 hour performance called Route 126. The curator Moira Roth recalls: “the group created a sequence of events throughout the day along the highway. The day began with Suzanne Lacy’s Car Renovation in which the group decorated an abandoned car…and ended with the women standing on a beach watching Nancy Youdelman, wrapped in yards of gossamer silk, slowly wade out to sea until she drowned, apparently…” There’s a fabulous photo taken by Faith Wilding of the car—a Kotex-pink jalopy washed up on desert rocks. The trunk’s flung open and underneath it’s painted cuntblood red. Strands of desert grass spill from the crumpled hood like Rapunzel’s fucked-up hair. According to Performance Anthology—Source Book For A Decade Of California Art, this remarkable event received no critical coverage at the time though contemporaneous work by Baldessari, Burden, Terry Fox boasts bibliographies several pages long. Dear Dick, I’m wondering why every act that narrated female lived experience in the ’70s has been read only as “collaborative” and “feminist.” The Zurich Dadaists worked together too but they were geniuses and they had names.

Authentic self-worth comes from an internal value system, not from simple achievement. Self-worth comes from the positive results of your effort. You may have learned something about yourself or gained the experiential confidence to attempt more difficult challenges. These effects are genuinely valuable. The achievement itself, however, is no reason for an elevated sense of self-worth. You might not have learned anything from your “success,” or you could have learned something equally valuable by not meeting your objective. Here’s the complete scenario for performance-oriented self-worth: If you have a string of weak performances, you’ll be down on yourself in general, creating a destructive downward spiral. If you climb well half the time, you’ll be the passive recipient of reward half the time, and of punishment the other half. If you manage to climb well all the time, you’ll get the dubious reward of becoming an egomaniac with a precarious self-image, destined for a crash. You can look forward to an old age spent in endless rehash of past days of glory. If you think about it, no matter how well you climb, tangling up your self-worth with your performance is a lose-lose situation.

But it is the moment when something appears as if out of nowhere, when a work of art carries within itself the thrill of invention, of discovery, that is worth listening for. It’s that moment when a song or a performance is its own manifesto, issuing its own demands on life in its own, new language—which, though the charge of novelty is its essence, is immediately grasped by any number of people who will swear they never heard anything like it before—that speaks. In rock ’n’ roll, this is a moment that, in historical time, is repeated again and again, until, as culture, it defines the art itself.

He rolled and thrashed in his bed, waiting for the dancing blue shadows to come in his window, waiting for the heavy knock on his door, waiting for some bodiless, Kafkaesque voice to call: Okay, open up in there! And when he finally fell asleep he did it without knowing it, because thought continued without a break, shifting from conscious rumination to the skewed world of dreams with hardly a break, like a car going from drive to low. Even in his dreams he thought he was awake, and in his dreams he committed suicide over and over: burned himself; bludgeoned himself by standing under an anvil and pulling a rope; hanged himself; blew out the stove’s pilot lights and then turned on the oven and all four burners; shot himself; defenestrated himself; stepped in front of a moving Greyhound bus; swallowed pills; swallowed Vanish toilet bowl disinfectant; stuck a can of Glade Pine Fresh aerosol in his mouth, pushed the button, and inhaled until his head floated off into the sky like a child’s balloon; committed hara-kiri while kneeling in a confessional at St. Dom’s, confessing his self-murder to a dumbfounded young priest even as his guts accordioned out onto the bench like beef stew, performing an act of contrition in a fading, bemused voice as he lay in his blood and the steaming sausages of his intestines. But most vividly, over and over, he saw himself behind the wheel of the LTD, racing the engine a little in the closed garage, taking deep breaths and leafing through a copy of National Geographic, examining pictures of life in Tahiti and Aukland and the Mardi Gras in New Orleans, turning the pages ever more slowly, until the sound of the engine faded to a faraway sweet hum and the green waters of the South Pacific inundated him in rocking warmth and took him down to a silver fathom.

Screams died in them and floated belly up, like dead fish. Cowering on the floor, rocking between dread and disbelief, they realized that the man being beaten was Velutha. Where had he come from? What had he done? Why had the policemen brought him here? They heard the thud of wood on flesh. Boot on bone. On teeth. The muffled grunt when a stomach is kicked in The muted crunch of skull on cement. The gurgle of blood on a man's breath when his lung is torn by the jagged end of a broken rib. Blue-lipped and dinner-plate-eyed, they watched, mesmerized by something that they sensed but didn't understand: the absence of caprice in what the policemen did. The abyss where anger should have been. The sober, steady brutality, the economy of it all. They were opening a bottle. Or shutting a tap. Cracking an egg to make an omelette. The twins were too young to know that these were only history’s henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear — civilization’s fear of nature, men’s fear of women, power’s fear of powerlessness. Man’s subliminal urge to destroy what he could neither subdue nor deify. Men’s Needs. What Esthappen and Rahel witnessed that morning, though they didn’t know it then, was a clinical demonstration in controlled conditions (this was not war after all, or genocide) of human nature’s pursuit of ascendancy. Structure. Order Complete monopoly. It was human history, masquerading as God’s Purpose, revealing herself to an under-age audience. There was nothing accidental about what happened that morning. Nothing incidental. It was no stray mugging or personal settling of scores. This was an era imprinting itself on those who lived in it. History in live performance.

Now, isn’t that neat.” Midwestern sarcasm, when it’s done correctly, can be a thing of rare beauty. It’s like performance art. Everywhere else in the world, you can identify sarcasm if you’re paying attention. Even if the hostility isn’t overt, you can read the signs. There’ll be slightly elongated syllables or a pitch that’s just a little off. It’s like a trombone player with a plunger head. There’s that slight “wah-wah” tone-bending to let you know not to take this too seriously. Midwestern sarcasm plays it straight and makes you listen more closely. You have to treat every conversation like a safecracker. Unless your ears have been trained to recognize it, you’ll miss the hint of a minor key. Sometimes you don’t realize what’s happened until hours later, when it’s 3:00 a.m. and you’re half-asleep, and it suddenly hits you. “Aw, crap, they didn’t mean any of that, did they?” Midwestern sarcasm becomes even more deadly when it’s combined with small-town isolationism. These women had been cheerleaders at our high school, they weren’t indie rock aficionados, and Wilco isn’t exactly a household name. So on the one hand, it wasn’t surprising that they hadn’t followed every turn in my career. It’s shocking that they even remembered I played music at all.

Just as one might do useful work without fully understanding the job one was engaged in, or even what the point of it was, so the behaviour of devotion still mattered to the all-forgiving God, and just as the habitual performance of a task gradually raised one’s skills to something close to perfection, bringing a deeper understanding of the work, so the actions of faith would lead to the state of faith. Finally, she was shown the filthy, stinking, windowless cell carved into the rock beneath the Refuge where she would be chained, starved and beaten if she did not at least try to accept God’s love. She trembled as she looked at the shackles and the flails, and agreed she would do her best.

Your career is likely to bear more resemblance to that of a writer than that of an athlete or painter. You should look ahead to your forties as the time when you will be at your peak of creativity, technical proficiency, and energy, and also have enough phronesis to realize your potential. The more your field depends on good judgment that comes only from experience, the longer you can expect to sustain a high level of performance into your fifties and sixties. To put it another way: Even if you wait as late as thirty to start accumulating the fifty thousand chunks of expertise, you will still have completed that apprenticeship when you approach the peak of your other powers in your forties. So push out your time horizon and don’t get frustrated if what you hoped would be a meteoric rise proves to be more measured. You’re not failing; you’re getting better at your craft and can reasonably aspire to master it one day. In the meantime, consult Wikipedia to check on the lives of those who became conspicuously successful at a young age. Ted Sorenson? After JFK was assassinated, he had a financially successful career as an attorney and remained a participant in politics, but, like sports heroes, rock stars, and pure mathematicians, he had to turn forty knowing that his most exciting professional years were behind him. How sad. And how happy you should be that you aren’t going to be a famous presidential aide at thirty-two.

The meaning of the phrase ‘form and spirit are consistent,’7 is that the highest principle is contained within a performance of technique. Ch’i is what generates function throughout the body. When that ch’i is serene and everywhere, response to things will be boundless; and when you are in harmony, there will be no contending with strength. Though you are struck with metal and rock, you will not be crushed. Nevertheless, even the smallest thoughts will all become [conscious] intentions.8 This is not the spontaneity9 of the Way. Thus, when you face off with another, if your mind has not been subdued, the mentality of opposition will exist. What technique will you use then? No-Mind10 and responding naturally is the only answer.

I travel your body, like the world, your belly is a plaza full of sun, your breasts two churches where blood performs its own, parallel rites, my glances cover you like ivy, you are a city the sea assaults, a stretch of ramparts split by the light in two halves the color of peaches, a domain of salt, rocks and birds, under the rule of oblivious noon, dressed in the color of my desires, you go your way naked as my thoughts, I travel your eyes, like the sea, tigers drink their dreams in those eyes, the hummingbird burns in those flames, I travel your forehead, like the moon, like the cloud that passes through your thoughts, I travel your belly, like your dreams, your skirt of corn ripples and sings, your skirt of crystal, your skirt of water, your lips, your hair, your glances rain all through the night, and all day long you open my chest with your fingers of water, you close my eyes with your mouth of water, you rain on my bones, a tree of liquid sending roots of water into my chest, I travel your length, like a river, I travel your body, like a forest, like a mountain path that ends at a cliff I travel along the edge of your thoughts, and my shadow falls from your white forehead, my shadow shatters, and I gather the pieces and go with no body, groping my way, the endless corridors of memory, the doors that open into an empty room where all the summers have come to rot, jewels of thirst burn at its depths, the face that vanishes upon recall, the hand that crumbles at my touch, the hair spun by a mob of spiders over the smiles of years ago,

When you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn't let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and of which they think it would be effected by means of the daemons. Nothing is effected by daemons, there are no daemons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

Look, Kamala: When you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn't let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and of which they think it would be effected by means of the daemons. Nothing is effected by daemons, there are no daemons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

My sexual exploits with my neighborhood playmates continued. I lived a busy homosexual childhood, somehow managing to avoid venereal disease through all my toddler years. By first grade I was sexually active with many friends. In fact, a small group of us regularly met in the grammar school lavatory to perform fellatio on one another. A typical week’s schedule would be Aaron and Michael on Monday during lunch; Michael and Johnny on Tuesday after school; Fred and Timmy at noon Wednesday; Aaron and Timmy after school on Thursday. None of us ever got caught, but we never worried about it anyway. We all understood that what we were doing was not to be discussed freely with adults but we viewed it as a fun sort of confidential activity. None of us had any guilty feelings about it; we figured everyone did it. Why shouldn’t they?

The Eternal Return has certainly not been thought by philosophers or by those who are concerned about Nietzsche in the contemporary history of ideas, and this because the Eternal Return can not be thought of. It is a revelation that presents next to the Silvaplana rock, or on the threshold of the Gateway of the Moment, where the Two Ways meet. You will have to travel step by step along the path of Western yoga that Nietzsche rediscovered and practiced, putting his feet in the tracks that he left in the paths of the high peaks, relive their great pains and divine glories, reaching to reach similar tonalities of the soul, to be possessed by Dionysus and his ancient drunkenness, Luciferian, that makes dance in the solitude of forests and lost from a solar age, laughing and crying at the same time. And this is not achieved by the philosophers of the intellect or the beings 'of the flock'. For to achieve this, the Circle will have to be traversed for several eternities, again at the Gateway of the Moment, already predestined at noon. In addition, the doctrine of the Eternal Return is selective. As the initiatory practice Tantric Panshatattva is not for the paśu [animal], but only for some heroes or viryas, thus the Noon is reached by the 'Lords of the Earth' and by the poets of the Will to Power, predestined in a mysterious way to perform the Superman, that individualistic and aristocratic mutation. The 'herd', the vulgar, has nothing to do with all this, including here the scientists, technologists and most philosophers, politicians and government of the Kaliyuga. Nietzsche's description of the Eternal Return is found in some aphorisms that precede 'The Gay Science', Joyful Science, using Nietzsche the Provencal term, Occitan, from 'Gay'. Joyful Science will be that of the one who has accepted the Eternal Return of all things and has transmuted the values. The one of Superman. There is also a description in the schemes of 'The Will to Power'. In they all take hold, with genius that transcends their time, of the scientific knowledge and the mechanics of the time, which does not lose validity to the doctrine, let us say better to the revealed Idea, to the Revelation that, of somehow, it was also in the Pythagoreans, in their Aryan-Hyperborean form, differentiating itself from other elaborations made in the millennia of the East. Also would have been veiled in the Persian reformer Zarathustra. We are going to reproduce what Nietzsche has written about the Eternal Return. In the schemes of 'The Will to Power', he says: 'Everything returns and returns eternally; We can not escape this.

And so I learned things, gentlemen. Ah, one learns when one has to; one learns when one needs a way out; one learns at all costs. One stands over oneself with a whip; one flays oneself at the slightest opposition. My ape nature fled out of me, head over heels and away, so that my first teacher was almost himself turned into an ape by it and was taken away to a mental hospital. Fortunately he was soon let out again. But I used up many teachers, several teachers at once. As I became more confident of my abilities, as the public took and interest in my progress and my future began to look bright, I engaged teachers for myself, engaged them in five communicating rooms, and took lessons from all at once by dint of leaping from one room to the other. That progress of mine! How the rays of knowledge penetrated from all sides into my awakening brain? I do not deny it: I found it exhilarating. But I must also confess: I did not overestimate it, not even then, much less now. With an effort which up till now has never been repeated I managed to reach the cultural level of an average European. In itself that might be nothing to speak of, but it is something insofar as it has helped me out of my cage and opened a special way out for me, the way of humanity. There is an excellent idiom: to fight one’s way through the thick of things; that is what I have done, I have fought through the thick of things. There was nothing else for me to do, provided that freedom was not to be my choice. As I look back on my development and survey what I have achieved so far, I do not complain, but I am not complacent either. With my hands in my trouser pockets, my bottle of wine on the table, I half lie and half sit in my rocking chair and gaze out of the window: If a visitor arrives I receive him with propriety. My manager sits in the anteroom; when I ring, he comes and listens to what I have to say. Nearly every evening I give a performance, and I have a success that could hardly be increased. When I come home late at night from banquets, from scientific receptions, from social gatherings, there sits waiting for me a half-trained chimpanzee and I take comfort from her as apes do. By day I cannot bear to see her; for she has the insane look of the bewildered half-broken animal in her eye, no one else sees it, but I do, and I cannot bear it. On the whole, at any rate, I have achieved what I have set out to achieve. But do not tell me that it was not worth the trouble. In any case, I am not appealing to any man’s verdict. I am only imparting knowledge, I am only making a report. To you also, honored Members of the Academy, I have only made a report.

All night the fighting had been furious, with no let-up. Fur and Freedom Fighters had battled against flaming shafts with their bare paws and sand. Four lay dead and three wounded. Smoke-grimed and bleary-eyed, they had plucked burning arrows from the wood, strung them on their bows and returned them to stick blazing in the gates of Marshank. The javelin supply was depleted, one shaft being retained for each creature in the event that paw-to-paw combat would be their final stand. There were still plenty of rocks to sling, Keyla and Tullgrew taking charge of the slingers whilst Ballaw managed a frugal breakfast. The hare sat wearily against one of the sandbanks that had been shorn up either side of the cart, Rowanoak slumped beside him. Both were singed and smoke-grimed. Rowanoak drank half her water, passing the rest on to Brome, who distributed it among the wounded. The badger wiped a sandy paw across her scorched muzzle. ‘Well, Ballaw De Quincewold, what’s to report?’ The irrepressible hare wiped dust from his half-scone ration and looked up at the sky. ‘Report? Er, nothin’ much really, except that it looks like being another nice sunny day, wot!’ A flaming arrow extinguished itself in the sand close by Rowanoak. She tossed it on to a pile of other shafts waiting to be shot. ‘A nice day indeed. D’you think we’ll be around to see the sunset?’ Without waiting for an answer, she continued, ‘I wonder if that owl – Boldred, wasn’t it – I wonder if she ever managed to get through to this Martin the Warrior creature.’ Ballaw picked dried blood from a wound on his narrow chest. ‘Doesn’t look like it, does it? No, old Rowan me badger oak, I think the stage is all ours and it’ll be our duty to give the best performance we can before the curtain falls for the last time.

When I saw them on the beach, perfectly tanned, or when I watched them twirling in the waves, I grasped the transcendental element in surf music. It was all about freedom from the rules of life, the whole of your being concentrated in the act of shooting the tube. For several years after that trip to L.A. I subscribed to Surfer magazine, and I practiced the Atlantic Ocean version of the sport, though only with my body and on rather tame waves. With my voice muffled by the water I would shout a line from “Surf City.” To me, this was the ultimate fantasy of plenty: “two girls for every boy,” except I sang it as “Two girls for every goy.” Fortunately, Brian has survived the schizoid tendencies that seemed close to the surface when I met him. He’s still performing and writing songs. But it was his emotional battle and the intersection of that struggle with the acid-dosed aesthetic of the sixties that produced his most astonishing music.

To avoid being mistaken for a sellout, I chose my friends carefully. The more politically active black students. The foreign students. The Chicanos. The Marxist professors and structural feminists and punk-rock performance poets. We smoked cigarettes and wore leather jackets. At night, in the dorms, we discussed neocolonialism, Franz Fanon, Eurocentrism, and patriarchy. When we ground out our cigarettes in the hallway carpet or set our stereos so loud that the walls began to shake, we were resisting bourgeois society’s stifling conventions. We weren’t indifferent or careless or insecure. We were alienated. But this strategy alone couldn't provide the distance I wanted, from Joyce or my past. After all, there were thousands of so-called campus radicals, most of them white and tenured and happily tolerant. No, it remained necessary to prove which side you were on, to show your loyalty to the black masses, to strike out and name names.

Why were hippies such a threat, from the President on down to local levels, objects for surveillance and disruptions? Many of the musicians had the potential to become political. There were racial overtones to the black-white sounds, harmony between Janis Joplin, Otis Redding and Jimi Hendrix. Black music was the impetus that drove the Rolling Stones into composing and performing. The war in Vietnam we escalated. What if they stopped protesting the war in Southeast Asia and turned to expose domestic policies at home with the same energy? One of the Byrds stopped singing at Monterey Pop to question the official Warren Report conclusion that Lee Harvey Oswald was a “lone assassin.” Bob Dylan’s Bringing it All Back Home album features a picture of Lyndon Johnson on the cover of Time. By 1966, LBJ had ordered writers and critics of his commission report on the JFK murder under surveillance. That research was hurting him. Rock concerts and Oswald. What next?

[Phone interview transcript between author Roorda & Vershawn A. Young, author of Your Average Nigga: Performing Race, Literacy, and Masculinity, a book based on his Ph.D dissertation] Now the subtitle, Performing Race, Literacy, and Masculinity, what does that cover? It covers the range of enactments in speech, in dress, in the way we behave, the way that we interact with other people. Basically, it is the range of enactments that black people have to go through to be successful in America. I call it the burden of racial performance that black people are required, not only by whites but by other blacks as well, to prove through their behaviors, their speech, and their actions the kind of black person that they are. Really, there are only two kinds you can be. In the words of comedian Chris Rock, you can either be a black person, which is a respectable, bourgeois, middle-class black person, or you can be a nigger. As Chris Rock says in his show, "I love black people, but I hate niggers." So . . . when a black person walks into a room, always in the other person's mind is the question "What kind of black person is this in front of me?" They are looking for clues in your speech, in your demeanor, in your behavior, and in everything that you do -- it is like they are hyperattentive to your ways of being in order to say, "Okay, this is a real black person. I can trust them. I'll let them work here. Or, nope: this is a nigger, look at the spelling of their name: Shaniqua or Daquandre." We get discriminated against based on our actions. So that is what the subtitle was trying to suggest in performing race. And in performing literacy, just what is the prescribed means for increasing our class status? A mind-set: "Okay, black people, you guys have no excuse. You can go to school and get an education like everybody else." I wanted to pay attention to the ways in which school perpetuated a structural racism through literacy, the way in which it sort of stigmatizes and oppresses blackness in a space where it claims it is opening up opportunities for black people.

Despite the dangers and discomforts, climbing is for many an all-consuming passion. They interrupt, end, or never start their careers, focusing exclusively on completing the next climb. Climber Todd Skinner said free climbing means "going right to the edge" of your capabilites. For many climbers, this closeness to death - the risk of dying - produces an adrenaline rush that most other life experiences simply can't. It is what keeps many of them married to the sport. Probably no other sport creates such a feeling of oneness with Mother Nature. Attached to a mountainside by fingertips and toes, the climber necessarily becomes part of the rock - or else. One climber says that while scaling a granite face, she felt close to God, so intense was her relationship with the natural world. Climbers speak of "floating" or "performing a ballet" over the rock, each placement of foot and each reach into a crack creating unity with the mountain. The sport is one of total engagement with the here-and-now, which frees the mind from everything else. Climbers' concentration is complete and focused. Their only thought is executing the next move... Ken Bokelund... said: "Climbing for me has always been the strength of the body over the weakness of the mind. If you train so that you are very strong physically and you have mastered the techniques, then all that's left is believing. Freeing your mind of fear is the key. This is very difficult to do, but when you can achieve it, then you are in true harmony with the rock. Fear is just one more thing to worry about and is very distracting. It can make you fall... ...when you know you are strong enough to complete any maneuver, once that level of physical confidence is achieved, then you are able to put fear out of your mind. Climbing becomes a very simple pleasure. It's just you and the rock. It's a total clarity of being, a time when nothing matters, you're moving without any thought, you're in a place where time stands still. Even when you're on a wall for days, when you get down, everything seems exactly the same, as though time never passed.

After lunch we went to have our feet nibbled by hundreds of tiny fish. Then, after that- just kidding, I'll explain. The onsen offers a skin treatment where you dip your feet into a shallow pool stocked with Garra rufa, also known as doctor fish, which perform primitive exfoliation by slurping dead skin off your feet with their tiny jaws. This is illegal in most U.S. states, where health authorities believe that sharing fish between customers is as sanitary as sharing unsterilized tattoo needles. I find this reasoning persuasive. Naturally, we all went and joined a random stranger at the fish pool. I'd heard of this fish treatment before, probably from a "hey, you've got to see this" link passed around online, and somehow I had the idea that it involved the occasional wayward fish sidling up to your foot. Try dozens, hundreds, all gnawing simultaneously. You can feel the little bites. At first it provoked a deep-seated piranha fear which I quelled by sitting still, taking deep breaths, and telling myself I had nothing to worry about other than blood-borne diseases. After that, it proved quite relaxing, although I did give up before my allotted fifteen minutes and went back to the painful reflexology pool where you walk around barefoot on jagged rocks. My feet are still baby soft, but when I need my next treatment, I'll post to Craigslist. Need feet nibbled. Will pay.

The world is dead, The Samurai, moving among the inert metal of pumps and lines and distillation columns, over the concrete apron in which the plants were constructed, over gravel brought from the Prospect quarries. it is a world of age-old stones - picking up a piece of gravel in which glinted minerals unknown to him - of basalt chiped from mountains long ago, lying around on roads, lying under hills waiting to be plundered. And laughing at humans. These dead rocks were all of them older than the human race which trod them. each fragment had an immortality. Humans rotted away into the soil in an instant of time. What was the power he had that enabled him to lift this fragment of eternity in his hand and decide where to throw it? What had been breathed into his fragile dust that seemed for his instant of life to mock the inertia of the rock? Was his own existence supported by a paper warrant somewhere? He drew back from following these thoughts. There was a power in him, or rather power came to him that made him stronger than he needed to be. A power that blew up certain feelings to an enormous size, a secret power. Was he so different from the men around him? What was the mission that he had been born to perform? He deliberately relaxed. As he looked about him with a new mood the whole world filled with love. Even the dirt underfoot was sympathetic and grateful. he could love these random stones, these heaps of inert, formed metal so far now from where they were mined. He could love the soil itself and everything that was. He needed, at the moment, no written justification of his existence.

BEYOND THE GAME In 2007 some of the Colorado Rockies’ best action took place off the field. The Rocks certainly boasted some game-related highlights in ’07: There was rookie shortstop Troy Tulowitzki turning the major league’s thirteenth unassisted triple play on April 29, and the team as a whole made an amazing late-season push to reach the playoffs. Colorado won 13 of its final 14 games to force a one-game wild card tiebreaker with San Diego, winning that game 9–8 after scoring three runs in the bottom of the thirteenth inning. Marching into the postseason, the Rockies won their first-ever playoff series, steamrolling the Phillies three games to none. But away from the cheering crowds and television cameras, Rockies players turned in a classic performance just ahead of their National League Division Series sweep. They voted to include Amanda Coolbaugh and her two young sons in Colorado’s postseason financial take. Who was Amanda Coolbaugh? She was the widow of former big-leaguer Mike Coolbaugh, a coach in the Rockies’ minor league organization who was killed by a screaming line drive while coaching first base on July 22. Colorado players voted a full playoff share—potentially worth hundreds of thousands of dollars—to the grieving young family. Widows and orphans hold a special place in God’s heart, too. Several times in the Old Testament, God reminded the ancient Jews of His concern for the powerless—and urged His people to follow suit: “Learn to do right; seek justice. Defend the oppressed. Take up the cause of the fatherless; plead the case of the widow” (Isaiah 1:17). Some things go way beyond the game of baseball. Will you?

Lady Thornton,” Sutherland said in an awful, silky voice that made Elizabeth shake inside, “does the word ‘perjury’ have any meaning to you?” “I believe,” Elizabeth said, “it means to tell a lie in a place like this.” “Do you know how the Crown punishes perjurers? They are sentenced to gaol, and they live their lives in a dark, dank cell. Would you want that to happen to you?” “It certainly doesn’t sound very agreeable,” Elizabeth said. “Would I be able to take my jewels and gowns?” Shouts of laughter shook the chandeliers that hung from the vaulted ceilings. “No, you would not!” “Then I’m certainly happy I haven’t lied.” Sutherland was no longer certain whether he’d been duped, but he sensed that he’d lost his effort to make Elizabeth sound like a clever, scheming adulteress or a terrified, intimidated wife. The bizarre story of her flight with her brother had now taken on a certain absurd credibility, and he realized it with a sinking heart and a furious glower. “Madam, would you perjure yourself to protect that man?” His arm swung toward Ian, and Elizabeth’s gaze followed helplessly. Her heart froze with terror when she saw that, if anything, Ian looked more bored, more coldly remote and unmoved than he had before. “I asked you,” Sutherland boomed, “if you would perjure yourself to save that man from going to the gallows next month.” Elizabeth would have died to save him. Tearing her gaze from Ian’s terrifying face, she pinned a blank smile on her face. “Next month? What a disagreeable thing to suggest! Why, next month is-is Lady Northam’s ball, and Kensington very specifically promised that we would go”-thunderous guffaws exploded, rocking the rafters, drowning out Elizabeth’s last words-“and that I could have a new fur!!” Elizabeth waited, sensing that she had succeeded, not because her performance had been so convincing, but because many of the lords and wives who never thought beyond the next gown or ball or fur, and so she seemed entirely believable to them. “No further questions!” Sutherland rapped out, casting a contemptuous glance over her. Peterson Delham slowly arose, and though his expression was carefully blank, even bemused, Elizabeth sensed rather than saw that he was silently applauding her. “Lady Thornton,” he said in formal tones, “is there anything else you have to say to this court?” She realized that he wanted her to say something else, and in her state of relieved exhaustion Elizabeth couldn’t think what it was. She said the only thing she could think of, and she knew soon after she began speaking that he was pleased. “Yes, my lord. I wish to say how very sorry I am for the bother Bobby and I have caused everyone. I was wrong to believe him and to dash off without a word to anyone. And it was wrong of him to remain so angry with my husband all this time over what was, after all, rather an act of kindness on his part.” She sensed that she was going too far, sounding too sensible, and she hastily added, “If Kensington had had Bobby tossed into gaol for trying to shoot him, I daresay Bobby would have found it nearly as disagreeable a place as I. He is,” she confided, “a very fastidious person!” “Lady Thornton!” the Lord Chancellor said when the fresh waves of laughter had diminished to ripples. “You may step down.” At the scathing tone in his voice, Elizabeth dared a look in his direction, and then she almost missed her step when she saw the furious scorn on his face. The other lords might think her an incorrigible henwit, but the Lord Chancellor looked as if he would personally have enjoyed throttling her.

...he [Perry Hildebrandt] broached the subject of goodness and its relation to intelligence. He'd come to the reception for selfless reasons, but he now saw that he might get not only a free buzz but free advise from, as it were, two professionals. 'I suppose what I'm asking,' he said, 'is whether goodness can ever truly be its own reward, or whether, consciously or not, it always serves some personal instrumentality.' Reverend Walsh [Trinity Lutheran] and the rabbi [Meyer] exchanged glances in which Perry detected pleasant surprise. It gratified him to upset their expectations of a fifteen-year-old. 'Adam may have a different answer,' the rabbi said, but in the Jewish faith there is really only one measure of righteousness: Do you celebrate God and obey His commandments?' 'That would suggest,' Perry said, 'that goodness and God are essentially synonymous.' 'That's the idea,' the rabbi said. 'In biblical times, when God manifested Himself more directly. He could seem like quite the hard-ass--striking people blind for trivial offenses, telling Abraham to kill his son. But the essence of the Jewish faith is that God does what He does, and we obey Him.' 'So, in other words, it doesn't matter what a righteous person's private thoughts are, so long as he obeys the letter of God's commandments?' 'And worships Him, yes. Of course, at the level of folk wisdom, a man can be righteous without being a -mensch.- I'm sure you see this, too, Adam--the pious man who makes everyone around him miserable. That might be what Perry is asking about.' 'My question,' Perry said, 'is whether we can ever escape our selfishness. Even if you bring in God, and make him the measure of goodness, the person who worships and obeys Him still wants something for himself. He enjoys the feeling of being righteous, or he wants eternal life, or what have you. If you're smart enough to think about it, there's always some selfish angle.' The rabbi smiled. 'There may be no way around it, when you put it like that. But we "bring in God," as you say--for the believer, of course, it's God who brought -us- in--to establish a moral order in which your question becomes irrelevant. When obedience is the defining principle, we don't need to police every little private thought we might have.' 'I think there's more to Perry's question, though,' Reverend Walsh said. 'I think he is pointing to sinfulness, which is our fundamental condition. In Christian faith, only one man has ever exemplified perfect goodness, and he was the Son of God. The rest of us can only hope for glimmers of what it's like to be truly good. When we perform an act of charity, or forgive an enemy, we feel the goodness of Christ in our hearts. We all have an innate capability to recognize true goodness, but we're also full of sin, and those two parts of us are constantly at war.' 'Exactly,' Perry said. 'How do I know if I'm really being good or if I'm just pursuing a sinful advantage?' 'The answer, I would say, is by listening to your heart. Only your heart can tell you what your true motive is--whether it partakes of Christ. I think my position is similar to Rabbi Meyer's. The reason we need faith--in our case, faith in the Lord Jesus Christ--is that it gives us a rock-solid basis for evaluating our actions. Only through faith in the perfection of our Savior, only by comparing our actions to his example, only by experiencing his living presence in our hearts, can we hope to be forgiven for the more selfish thoughts we might have. Only faith in Christ redeems us. Without him, we're lost in a sea of second-guessing our motives.

Wishing I had a towel, I used my fingers to wipe the raindrops off my face. My wet face that had been partially protected by the brim of his cap. Which would have worked if the rain fell straight down. This had been slashing across. “Oh, no.” “What?” Jason said. “Turn on the light.” He did. I lowered the sun visor, looked at my reflection in the mirror, groaned, and slapped the visor back into place. “Turn the light off.” “What’s wrong?” I didn’t look at him, didn’t want him to see. “The makeup ran.” Not as badly as I’d expected, but I had dark smudges beneath my eyes and my bruising was more visible. “So what?” I leaned my head back. “I look worse than I did the night you met me.” “I thought you looked fine.” I rolled my head to the side, so I could see him. Hoping the shadows made it so he couldn’t see me. “What are you talking about? I looked like a Cirque de Soleil performer.” “What are you talking about?” “The black dots around my eyes?” He shook his head. “I’m lost.” “You were staring--” “Oh, yeah.” He gazed through the windshield. “Sorry about that. I’ve just never seen eyes as green as yours. I was trying to figure out if you wore contacts.” “You were looking at my eyes?” “Yeah.” “Not the makeup.” He turned his attention back to me. “I didn’t realize you were wearing any. That night, anyway. Tonight it’s pretty obvious.” “Oh.” Didn’t I feel silly? “I thought--” I shook my head. “Never mind.” On second thought… “You don’t like all the makeup?” “I just don’t think you need it. I mean, you look pretty without it.” Oh, really? That was totally unexpected. He started tapping the steering wheel like he was listening to a rock concert, or suddenly embarrassed, maybe wishing someone would shut him up. “Sorry I don’t have a towel in the car.” Subject change. He was embarrassed. How cute was that?

Siddhartha said: "Yesterday, I told you I knew how to think, to wait, and to fast, but you thought this was of no use. But it is useful for many things, Kamala, you'll see. You'll see that the stupid Samanas are learning and able to do many pretty things in the forest, which the likes of you aren't capable of. The day before yesterday, I was still a shaggy beggar, as soon as yesterday I have kissed Kamala, and soon I'll be a merchant and have money and all those things you insist upon." "Well yes," she admitted. "But where would you be without me? What would you be, if Kamala wasn't helping you?" "Dear Kamala," said Siddhartha and straightened up to his full height, "when I came to you into your grove, I did the first step. It was my resolution to learn love from this most beautiful woman. From that moment on when I had made this resolution, I also knew that I would carry it out. I knew that you would help me, at your first glance at the entrance of the grove I already knew it." "But what if I hadn't been willing?" "You were willing. Look, Kamala: When you throw a rock into the water, it will speed on the fastest course to the bottom of the water. This is how it is when Siddhartha has a goal, a resolution. Siddhartha does nothing, he waits, he thinks, he fasts, but he passes through the things of the world like a rock through water, without doing anything, without stirring; he is drawn, he lets himself fall. His goal attracts him, because he doesn't let anything enter his soul which might oppose the goal. This is what Siddhartha has learned among the Samanas. This is what fools call magic and of which they think it would be effected by means of the daemons. Nothing is effected by daemons, there are no daemons. Everyone can perform magic, everyone can reach his goals, if he is able to think, if he is able to wait, if he is able to fast.

The mornings came hard, and our caddie master, Dick Millweed, had a temper that could make a hangover seem like a seismic fracture. He was a small man with a soft, friendly voice. He was not intimidating at all, until he lost it. In his defense, he took shit from all sides - from the members who wanted their favorite caddie and their preferred tee time, from the golf staff who wanted him to perform a million menial duties, and from us when we showed up bleary eyed and incoherent and sometimes didn't show up at all. And God forbid a caddie should stumble in late, because then Millweed's lips would begin to tremble and his blue eyes would explode from his head. They grew as large as saucers and shook as though his skull was suffering earthquake. And he appeared to grow with them. It was like some shaman or yogi trick. Pound for pound, I've never met anyone else who could so effectively deliver anger. He would yell, "You like fucking with me, don't you? You like making me look bad! You wake up and say, 'Today I'm gonna fuck with Millweed!' and it makes you happy, doesn't it?" And we had no choice but to stand there and take it - hang our heads and blubber apologies and promise never to be hung over again, never to show up late again, because he held the ultimate trump card _ he could fire us and cut us off from the golden tit. But once we were out on the course walking it off, the hanover and any cares associated with it (including Millweed) evaporated into the light mountain air. And after the round, with our pockets replenished and our spirits restored by the carefree, self-congratulatory ebullience of the uberrich, we were powerless to resist the siren song of clinking glasses, the inviting golden light of the street lamps and tavern windows in town, and the slopeside hot tubs steaming under the stars. We all jumped ship and dined, danced, and romanced the night away and then were dashed against the rocks of Millweed's wrath all over again the next morning.

What?' He cried, darting at him a look of fury: 'Dare you still implore the Eternal's mercy? Would you feign penitence, and again act an Hypocrite's part? Villain, resign your hopes of pardon. Thus I secure my prey!' As He said this, darting his talons into the Monk's shaven crown, He sprang with him from the rock. The Caves and mountains rang with Ambrosio's shrieks. The Daemon continued to soar aloft, till reaching a dreadful height, He released the sufferer. Headlong fell the Monk through the airy waste; The sharp point of a rock received him; and He rolled from precipice to precipice, till bruised and mangled He rested on the river's banks. Life still existed in his miserable frame: He attempted in vain to raise himself; His broken and dislocated limbs refused to perform their office, nor was He able to quit the spot where He had first fallen. The Sun now rose above the horizon; Its scorching beams darted full upon the head of the expiring Sinner. Myriads of insects were called forth by the warmth; They drank the blood which trickled from Ambrosio's wounds; He had no power to drive them from him, and they fastened upon his sores, darted their stings into his body, covered him with their multitudes, and inflicted on him tortures the most exquisite and insupportable. The Eagles of the rock tore his flesh piecemeal, and dug out his eyeballs with their crooked beaks. A burning thirst tormented him; He heard the river's murmur as it rolled beside him, but strove in vain to drag himself towards the sound. Blind, maimed, helpless, and despairing, venting his rage in blasphemy and curses, execrating his existence, yet dreading the arrival of death destined to yield him up to greater torments, six miserable days did the Villain languish. On the Seventh a violent storm arose: The winds in fury rent up rocks and forests: The sky was now black with clouds, now sheeted with fire: The rain fell in torrents; It swelled the stream; The waves overflowed their banks; They reached the spot where Ambrosio lay, and when they abated carried with them into the river the Corse of the despairing Monk.

Karmic Cause and Effect It is very important to contemplate the connection between our mental states and our actions. Our karmic patterns are formed and sustained by the intentional actions of the “three gates” of body, speech, and mind—everything we do, say, or think with volitional intention. Our actions and reactions form the cause and effect of action (Skt. karma; Tib. las) that in turn determines the kinds of experiences we have. As such, our mind has the potential to transport us to elevated states of existence or to plunge us into demeaning states of confusion and anguish. Our actions are not like footprints left on water; they leave imprints in our minds, the consequences of which will invariably manifest unless we can somehow nullify them. As the thirteenth Karmapa, Dudul Dorje (1733–97) states: In the empty dwelling place of confusion, Desire is unchanging, marked on the mind Like an etching on rock.13 The thoughts and emotions we experience and the attitudes and beliefs we hold all help to mold our character and dispositions and the kind of people we become. Conditioned existence is characterized by delusions, defilements, confusions, and disturbances of all kinds. We have to ask ourselves why we experience so much pain, while our pleasures are so ephemeral and transient. The answer is that these are the karmic fruits of our negative actions (Skt. papa-karma; Tib. sdig pa’i las). Jamgön Kongtrül says: The result of wholesome action is happiness; the result of unwholesome action is suffering, and nothing else. These results are not interchangeable: when you plant buckwheat, you get buckwheat; when you plant barley, you get barley.14 This cycle of cause and effect continues relentlessly, unless we embark on a virtuous spiritual path and learn to reverse this process by performing wholesome actions (Skt. kusala-karma; Tib. dge ba’i las). It is our intentions that determine whether an action is wholesome or unwholesome, and therefore it is our intentions that will dictate the quality of our future experiences. We have to think of karmic cause and effect in the following terms: “My current suffering is due to the negative actions, attitudes, thoughts, and emotions I performed in the past, and whatever I think, say, and do now will determine what I experience and become in the future. So from now on, I will contemplate the truth of karma, and pursue my spiritual practices with enthusiasm and positive intentions.

No Mirrors in My Nana’s House” Sweet Honey in the Rock LYRICS BY YSAYE MARIA BARNWELL Sweet Honey in the Rock is a Grammy Award–winning vocal group of black women vocalists founded in 1973 by Bernice Johnson Reagon. The group’s members have changed during its long tenure, but it retains a core of five vocalists and a sign-language interpreter. Their performances are deeply embodied celebrations of black women’s lived experiences. The group’s name is derived from Psalm 81:16: “But you would be fed with the finest of wheat; with honey from the rock I would satisfy you.” Sign-language interpreter Dr. Ysaye Barnwell joined Sweet Honey in the Rock in 1979 and appears in more than thirty recordings with the group. She is the author of one of the group’s most popular recordings, “No Mirrors in My Nana’s House.” It is a stirring piece that reveals how the loving protection of black women can shield black girls from a painful world that seeks to negate their beauty and worth. In 1998 the lyrics became a children’s book published by Harcourt Brace. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I never knew that my skin was too black. I never knew that my nose was too flat. I never knew that my clothes didn’t fit. I never knew there were things that I’d missed, cause the beauty in everything was in her eyes (like the rising of the sun); . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). I was intrigued by the cracks in the walls. I tasted, with joy, the dust that would fall. The noise in the hallway was music to me. The trash and the rubbish just cushioned my feet. And the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun). The world outside was a magical place. I only knew love. I never knew hate, and the beauty in everything was in her eyes (like the rising of the sun). . . . was in her eyes. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. There were no mirrors in my Nana’s house, no mirrors in my Nana’s house. And the beauty that I saw in everything was in her eyes (like the rising of the sun).

Less is more. “A few extremely well-chosen objectives,” Grove wrote, “impart a clear message about what we say ‘yes’ to and what we say ‘no’ to.” A limit of three to five OKRs per cycle leads companies, teams, and individuals to choose what matters most. In general, each objective should be tied to five or fewer key results. (See chapter 4, “Superpower #1: Focus and Commit to Priorities.”) Set goals from the bottom up. To promote engagement, teams and individuals should be encouraged to create roughly half of their own OKRs, in consultation with managers. When all goals are set top-down, motivation is corroded. (See chapter 7, “Superpower #2: Align and Connect for Teamwork.”) No dictating. OKRs are a cooperative social contract to establish priorities and define how progress will be measured. Even after company objectives are closed to debate, their key results continue to be negotiated. Collective agreement is essential to maximum goal achievement. (See chapter 7, “Superpower #2: Align and Connect for Teamwork.”) Stay flexible. If the climate has changed and an objective no longer seems practical or relevant as written, key results can be modified or even discarded mid-cycle. (See chapter 10, “Superpower #3: Track for Accountability.”) Dare to fail. “Output will tend to be greater,” Grove wrote, “when everybody strives for a level of achievement beyond [their] immediate grasp. . . . Such goal-setting is extremely important if what you want is peak performance from yourself and your subordinates.” While certain operational objectives must be met in full, aspirational OKRs should be uncomfortable and possibly unattainable. “Stretched goals,” as Grove called them, push organizations to new heights. (See chapter 12, “Superpower #4: Stretch for Amazing.”) A tool, not a weapon. The OKR system, Grove wrote, “is meant to pace a person—to put a stopwatch in his own hand so he can gauge his own performance. It is not a legal document upon which to base a performance review.” To encourage risk taking and prevent sandbagging, OKRs and bonuses are best kept separate. (See chapter 15, “Continuous Performance Management: OKRs and CFRs.”) Be patient; be resolute. Every process requires trial and error. As Grove told his iOPEC students, Intel “stumbled a lot of times” after adopting OKRs: “We didn’t fully understand the principal purpose of it. And we are kind of doing better with it as time goes on.” An organization may need up to four or five quarterly cycles to fully embrace the system, and even more than that to build mature goal muscle.

Iofur had noticed. He began to taunt Iorek, calling him broken-hand, whimpering cub, rust-eaten, soon-to-die, and other names, all the while swinging blows at him from right and left which Iorek could no longer parry. Iorek had to move backward, a step at a time, and to crouch low under the rain of blows from the jeering bear-king. Lyra was in tears. Her dear, her brave one, her fearless defender, was going to die, and she would not do him the treachery of looking away, for if he looked at her he must see her shining eyes and their love and belief, not a face hidden in cowardice or a shoulder fearfully turned away. So she looked, but her tears kept her from seeing what was really happening, and perhaps it would not have been visible to her anyway. It certainly was not seen by Iofur. Because Iorek was moving backward only to find clean dry footing and a firm rock to leap up from, and the useless left arm was really fresh and strong. You could not trick a bear, but, as Lyra had shown him, Iofur did not want to be a bear, he wanted to be a man; and Iorek was tricking him. At last he found what he wanted: a firm rock deep-anchored in the permafrost. He backed against it, tensing his legs and choosing his moment. It came when Iofur reared high above, bellowing his triumph, and turning his head tauntingly toward Iorek’s apparently weak left side. That was when Iorek moved. Like a wave that has been building its strength over a thousand miles of ocean, and which makes little stir in the deep water, but which when it reaches the shallows rears itself up high into the sky, terrifying the shore dwellers, before crashing down on the land with irresistible power—so Iorek Byrnison rose up against Iofur, exploding upward from his firm footing on the dry rock and slashing with a ferocious left hand at the exposed jaw of Iofur Raknison. It was a horrifying blow. It tore the lower part of his jaw clean off, so that it flew through the air scattering blood drops in the snow many yards away. Iofur’s red tongue lolled down, dripping over his open throat. The bear-king was suddenly voiceless, biteless, helpless. Iorek needed nothing more. He lunged, and then his teeth were in Iofur’s throat, and he shook and shook this way, that way, lifting the huge body off the ground and battering it down as if Iofur were no more than a seal at the water’s edge. Then he ripped upward, and Iofur Raknison’s life came away in his teeth. There was one ritual yet to perform. Iorek sliced open the dead king’s unprotected chest, peeling the fur back to expose the narrow white and red ribs like the timbers of an upturned boat. Into the rib cage Iorek reached, and he plucked out Iofur’s heart, red and steaming, and ate it there in front of Iofur’s subjects.

Danny and the Memories was the band at the root of Crazy Horse. They were a vocal group with Danny Whitten, Ralphie, Billy, and a guy named Ben Rocco. When I recently saw their old video of "Land of a Thousand Dances" on You-Tube, I realized that is is truly the shit. You know, I looked at it maybe twenty times in a row. Even though Danny was amazing and he held the Horse together in the early days, I did not know how great Danny was until I saw this! The moves! What an amazing dancer he was. His presence on that performance is elevating! He is gone, and no one can change that. We will never see and hear where he was going. I am telling you, the world missed one of the greatest when Danny and the Memories did not have a NUMBER ONE smash record back in the day. They were so musical, with great harmonies, and Danny was a total knockout! I am so moved by this that it could make me cry at any time. This is one of those many times when words can't describe the music. Danny and the Memories eventually transformed into the Rockets; they were playing in this old house in Laurel Canyon, and I somehow connected with them while Buffalo Springfield was at the Whiskey. We had a lot of pots jams in the house. Later on I saw Danny and the guys at somebody's house in Topanga. After that I asked if Danny, Billy, and Ralphie would play on a record with me. We did one day, practicing in my Topanga house, and it sounded great. I named the band Crazy Horse and away we went. The Rockets were still together, but this was a different deal. At that time, I thought Danny was a great guitarist and singer. I had no idea how great, though. I just was too full of myself to see it. Now I see it clearly. I wish I could do that again, because more of Danny would be there. I have made an Early Daze record of the Horse, and you can hear a different vocal of "Cinnamon Girl" featuring more of Danny. He was singing the high part and it came through big-time. I changed it so I sang the high part and put that out. That was a big mistake. I fucked up. I did not know who Danny was. He was better than me. I didn't see it. I was strong, and maybe I helped destroy something sacred by not seeing it. He was never pissed off about it. I wasn't like that. I was young, and maybe I didn't know what I was doing. Some things you wish never happened. But we got what we got. I never really saw him a sing and move until I saw that "Land of a Thousand Dances" video. I could watch it over and over. I can't believe it. It's just one of those things. My heart aches for what happened to him. These memories are what make Crazy Horse great today. And now we don't have Briggs, either, for the next record, but we have the spirit and the heart to go on. And we have John Hanlong, taught by Briggs, to engineer this sucker. It will rock and cry. Please let's get to this before life comes knocking again.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.