Singer Motivational Quotes

So many people will tell you ”no”, and you need to find something you believe in so hard that you just smile and tell them ”watch me”. Learn to take rejection as motivation to prove people wrong. Be unstoppable. Refuse to give up, no matter what. It’s the best skill you can ever learn.

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

Music is the fastest motivator in the world.

It’s called ”being an artist” for a reason; it’s something YOU ARE. It’s how you live. It’s WHO you are. How you spend your life and what you leave behind.

Quiet birds rob the universe of beautiful symphonies.

Singers, actors or artists who touch on sorrow are trying to give comfort to aggrieved souls by giving some meaning to their sorrows.

You have to believe that your voice can mean something. You have to believe that what you do matters. And you have to keep going even on days you can't find that belief. If you can't do it for yourself, you do it for all the other young souls who need to be shown that things are possible. That they too can do that thing they dream of. You do it despite the doubts and the struggles. You do it because it's what you came here to do. That's what makes an artist.

Once the energy is no longer blocked and is flowing freely, personal needs are no longer your motivation. Your actions are the expression of love and gratitude for life. Your whole life becomes an act of service.

This distinction between empathy and compassion is critical for the argument I’ve been making throughout this book. And it is supported by neuroscience research. In a review article, Tania Singer and Olga Klimecki describe how they make sense of this distinction: “In contrast to empathy, compassion does not mean sharing the suffering of the other: rather, it is characterized by feelings of warmth, concern and care for the other, as well as a strong motivation to improve the other’s well-being. Compassion is feeling for and not feeling with the other.” The

When singers, actors or artists touch on sorrow, they are trying to give comfort to aggrieved souls by giving some meaning to their sorrows. The job of the singer, actor or artists ,in general, is to make us comfortable with our feelings or emotions―be it pain, hurt, anger, hatred, sadness, pleasure, love, cheerfulness or joy.

Failure is not an obstacle; it's a necessity.

I guess basically one wants to feel that one’s life has amounted to more than just consuming products and generating garbage. I think that one likes to look back and say that one’s done the best one can to make this a better place for others. You can look at it from this point of view: What greater motivation can there be than doing whatever one possibly can to reduce pain and suffering?

If you’re conscious, present, and paying attention, you will know what to do. The moment in front of you is talking to you. It doesn’t have to be in words. The piece of paper on the ground, the person who needs some help, whatever it is, your response becomes obvious. The deepest truth is that it doesn’t even matter what you do. What matters is where you’re coming from. What matters is your motive. If your motive is to let go of yourself and serve the moment in front of you, you are worthy of great respect. How would you like to meet somebody whose entire motive and purpose in life is to first let go of their personal blockages and then do their best to serve what’s in front of them? They can’t do wrong because their motive is pure. If the motive itself is pure and impersonal, in the end, it will spread light.

One person devotes his life to helping the poor. Another one lies and steals. Still another person tries to create better products and services for which he hopes to be paid handsomely. One woman devotes herself to her husband and children. Another seeks a career as a singer. In every case, the basic motivation has been the same. Each person is doing what he believes will bring him happiness. What varies between them is the means each has chosen to gain his happiness.

In accepting as two primary texts, Singer's Animal Liberation and Regan's The Case for Animal Rights--texts that valorize rationality--the animal defense movement reiterates a patriarchal disavowal of emotions as having a legitimate role in theory making. The problem is that while on the one hand it articulates positions against animal suffering, on the other hand animal rights theory dispenses with the idea that caring about and emotionally responding to this suffering can be appropriate sources of knowledge. Emotions and theory are related. One does not have to eviscerate theory of emotional content and reflection to present legitimate theory. Nor does the presence of emotional content and reflection eradicate or militate against thinking theoretically. By disavowing emotional responses, two major texts of animal defense close off the intellectual space for recognizing the role of emotions in knowledge and therefore theory making. As the issue of caring about suffering is problematized, difficulties with animal rights per se become apparent. Without a gender analysis, several important issues that accompany a focus on suffering are neglected, to the detriment of the movement. Animal rights theory offers a legitimating language for animal defense without acknowledging the indebtedness of the rights-holder to caring relationships. Nor does it provide models for theoretically engaging with our own emotional responses, since emotions are seen as untrustworthy. Because the animal advocacy movement has failed to incorporate an understanding of caring as a motivation for so many animal defense activists, and because it has not addressed the gendered nature of caring--that it is woman's duty to provide service to others, while it is men's choice--it has not addressed adequately the implications that a disproportionate number of activists are women motivated because they care about animal suffering. Animal rights theory that disowns or ignores emotions mirrors on the theoretical level the gendered emotional responses inherent in a patriarchal society. In this culture, women are supposed to do the emotional work for heterosexual intimate relationships: 'a man will come to expect that a woman's role in his life is to take care of his feelings and alleviate the discomfort involved in feeling.' At the cultural level, this may mean that women are doing the emotional work for the animal defense movement. And this emotional work takes place in the context of our own oppression.

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

Maybe your priority actually is money. Or maybe it’s family. Maybe it’s influence or change. Maybe it’s building an organization that lasts, or serves a purpose. All of these are perfectly fine motivations. But you do need to know. You need to know what you don’t want and what your choices preclude. Because strategies are often mutually exclusive. One cannot be an opera singer and a teen pop idol at the same time. Life requires those trade-offs, but ego can’t allow it. So why do you do what you do? That’s the question you need to answer. Stare at it until you can. Only then will you understand what matters and what doesn’t. Only then can you say no, can you opt out of stupid races that don’t matter, or even exist. Only then is it easy to ignore “successful” people, because most of the time they aren’t—at least relative to you, and often even to themselves. Only then can you develop that quiet confidence Seneca talked about.

For Penina Mezei petrify motive in folk literature stems from ancient, mythical layers of culture that has undergone multiple transformations lost the original meaning. Therefore, the origin of this motif in the narrative folklore can be interpreted depending on the assumptions that you are the primary elements of faith in Petrify preserved , lost or replaced elements that blur the idea of integrity , authenticity and functionality of the old ones . Motif Petrify in different genres varies by type of actor’s individuality, time and space, properties and actions of its outcome, the relationship of the narrator and singers from the text. The particularity of Petrify in particular genres testifies about different possibilities and intentions of using the same folk beliefs about transforming, says Penina Mezei. In moralized ballads Petrify is temporary or eternal punishment for naughty usually ungrateful children. In the oral tradition, demonic beings are permanently Petrifying humans and animals. Petrify in fairy tales is temporary, since the victims, after entering into the forbidden demonic time and space or breaches of prescribed behavior in it, frees the hero who overcomes the demonic creature, emphasizes Mezei. Faith in the power of magical evocation of death petrifaction exists in curses in which the slanderer or ungrateful traitor wants to convert into stone. In search of the magical meaning of fatal events in fairy tales, however, it should be borne in mind that they concealed before, but they reveal the origin of the ritual. The work of stone - bedrock Penina Mezei pointed to the belief that binds the soul stone dead or alive beings. Penina speaks of stone medial position between earth and sky, earth and the underworld. Temporary or permanent attachment of the soul to stone represents a state between life and death will be punished its powers cannot be changed. Rescue petrified can only bring someone else whose power has not yet subjugated the demonic forces. While the various traditions demons Petrifying humans and animals, as long as in fairy tales, mostly babe, demon- old woman. Traditions brought by Penina Mezei , which describe Petrify people or animals suggest specific place events , while in fairy tales , of course , no luck specific place names . Still Penina spotted chthonic qualities babe, and Mezei’s with plenty of examples of comparative method confirmed that they were witches. Some elements of procedures for the protection of the witch could be found in oral stories and poems. Fairy tales keep track of violations few taboos - the hero , despite the ban on the entry of demonic place , comes in the woods , on top of a hill , in a demonic time - at night , and does not respect the behaviors that would protect him from demons . Interpreting the motives Petrify as punishment for the offense in the demon time and space depends on the choice of interpretive method is applied. In the book of fairy tales Penina Mezei writes: Petrify occurs as a result of unsuccessful contact with supernatural beings Petrify is presented as a metaphor for death (Penina Mezei West Bank Fairytales: 150). Psychoanalytic interpretation sees in the form of witches character, and the petrification of erotic seizure of power. Female demon seized fertilizing power of the masculine principle. By interpreting the archetypal witch would chthonic anima, anabaptized a devastating part unindividualized man. Ritual access to the motive of converting living beings into stone figure narrated narrative transfigured magical procedures some male initiation ceremonies in which the hero enters into a community of dedicated, or tracker sacrificial rites. Compelling witches to release a previously petrified could be interpreted as the initiation mark the conquest of certain healing powers and to encourage life force, highlights the Penina.

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

She seemed sad and wise beyond her years. All the giddy experimentation with sex, recreational drugs, and revolutionary politics that was still approaching its zenith in countercultural America was ancient, unhappy history to her. Actually, her mother was still in the midst of it—her main boyfriend at the time was a Black Panther on the run from the law—but Caryn, at sixteen, was over it. She was living in West Los Angeles with her mother and little sister, in modest circumstances, going to a public high school. She collected ceramic pigs and loved Laura Nyro, the rapturous singer-songwriter. She was deeply interested in literature and art, but couldn’t be bothered with bullshit like school exams. Unlike me, she wasn’t hedging her bets, wasn’t keeping up her grades to keep her college options open. She was the smartest person I knew—worldly, funny, unspeakably beautiful. She didn’t seem to have any plans. So I picked her up and took her with me, very much on my headstrong terms. I overheard, early on, a remark by one of her old Free School friends. They still considered themselves the hippest, most wised-up kids in L.A., and the question was what had become of their foxy, foulmouthed comrade Caryn Davidson. She had run off, it was reported, “with some surfer.” To them, this was a fate so unlikely and inane, there was nothing else to say. Caryn did have one motive that was her own for agreeing to come to Maui. Her father was reportedly there. Sam had been an aerospace engineer before LSD came into his life. He had left his job and family and, with no explanation beyond his own spiritual search, stopped calling or writing. But the word on the coconut wireless was that he was dividing his time between a Zen Buddhist monastery on the north coast of Maui and a state mental hospital nearby. I was not above mentioning the possibility that Caryn might find him if we moved to the island.

When he had cancer and knew that the end was not far away, I asked him what had driven him to spend his life working for others. He replied: I guess basically one wants to feel that one's life has amounted to more than just consuming products and generating garbage. I think that one likes to look back and say that one's done the best one can to make this a better place for others. You can look at it from this point of view: what greater motivation can there be than doing whatever one possibly can to reduce pain and suffering?

Great Sardaar" An ornamental piece of work by the Punjabi industry. Produced by Amritjit Singh Sran and Directed by Ranjeet Bal under the production house Apna Heritage &Sapphire Films presents to you "Great Sardaar" an Action/Drama film starring none other than the budding artist Dilpreet Dhillon and the multi talented Yograj Singh. This movie is an Action/Drama film in which the protagonist ends up with a series of challenges. The movie stars Dilpreet Dhillon as the lead along with Yograj singh who plays the role of (Dilpreet Dhillon) Gurjant's father. After watching the trailer one can surely say there's tasty substance beneath the froth, just enough to keep you hooked. "GREAT SRADAAR" is based on the true events about Major Shaitan Singh, who was awarded the Param Vir Chakra posthumously for his 'C' company's dig-in at Rezang La pass during the Sino-India conflict of 1962. This motivational movie is a Tribute to Sikkhism. It's really healing to see movies that are based on true events. It builds so much more compassion. Dilpreet Dhillon popularly known for his role in "once upon a time in Amritsar" has gained a great fan following. He is considered is one of the popular emerging male playback singer and actor in Punjabi music industry. And when it comes to Yograj Singh, he is not only a former Indian cricketer but also a boon to the Punjabi industry. Since the release of the official trailer on 7th of June,2017 which shows that the movie is action-packed and will leave the audience spellbound and wanting for more, the audience is eagerly waiting for the release of the movie.The trailer rolls by effortlessly and the Director has done an impeccable job. Ranjeet Bal evidently knew what he was doing and has ensured that every minute detail was taken care of particularly considering the genre he was treading. The audience will surely be sitting on the edge of their seats. Visual Effects Director- VFx Star has once again proved that there is nothing that will leave India from evolving in the field of technology. "Great Sardaar" which is set to be released on the 30th of June,2017 will be a very carefully structured story. The main question that will be raised is not what kind of world we live in, or what reality is like, rather what it has done to us.

Have you ever paid notice to the full sound range of your voice? If you have ever been in a chorus or a singing group, you already know that they will separate the group based on each singer’s pitch and assign their roles accordingly. While my speaking voice has a soprano pitch, my singing voice is a lower alto.

Was it that she understood that we resented having others think that we were all entertainers and natural singers? But now after the mutual laughter something disturbed me: Shouldn't there be some way for us to be asked to sing? Shouldn't the short man have the right to make a mistake without his motives being considered consciously or unconsciously malicious? After all, he was singing, or trying to. What if I asked him to sing?

In fact, the Nazis did not have a euthanasia program, in the proper sense of the word. Their so-called euthanasia program was not motivated by concern for the suffering of those killed. If it had been, they would not have kept their operations secret, deceived relatives about the cause of death of those killed, or exempted from the program certain privileged classes, such as veterans of the armed services or relatives of the euthanasia staff. Nazi ‘euthanasia’ was never voluntary and often was involuntary rather than nonvoluntary. ‘Doing away with useless mouths’ – a phrase used by those in charge – gives a better idea of the objectives of the program than ‘mercy-killing’. Both racial origin and ability to work were among the factors considered in the selection of patients to be killed. It was the Nazi belief in the importance of maintaining a pure Aryan Volk – a quasi-mystical racist concept that was thought of as more important than mere individuals’ lives – that made both the so-called euthanasia program and later the entire holocaust possible. Proposals for the legalization of euthanasia, on the other hand, are based on respect for autonomy and the goal of avoiding pointless suffering.

A third reason for auditory atrophy is the expectation of congregations, who have come to believe that the sermon is monologue, not motivation, that it is designed for entertainment. The service becomes less an opportunity for reconciliation, restoration, and renewal and more a Sunday morning version of what Johnny Carson, Jay Leno, and now Jimmy Fallon provide on weekday nights: a monologue to make us laugh, music to amuse or bemuse us (having paid singers in the choir doesn’t hurt, nor does an organ that cost more than most

So where does this leave us? Are we a rational animal, or as Robert Heinlein said, merely a rationalising one? Sure, there’s no shortage of evidence that our intuitions, emotions, prejudices and motivations can push reason around. Good luck to you if you want to use only argument to persuade - unless you’ve got people who already like you or trust you (ideally both) you’re going to have a hard time, but amidst the storm and shouting of psychological factors, reason has a quiet power. People do change each other’s minds, and if you can demonstrate the truth of your point of view, or help someone come to realise the short-comings of theirs, maybe you can shift them along. But beware Singer’s warning - logic has its own dynamic. If you open yourself to sincerely engage in argument then it is as likely that your interlocutor will persuade you as the other way around, after all, none of us has the sole claim on what it means to be rational.

I just hope most artists will realise it is not just talent only that makes you succeed. There is a lot. Planning, structuring, hard work, commitment, dedication, training, perseverance, and most importantly working well with others.

Alison Wood Brooks, an associate professor at Harvard Business School, had a different notion of how to handle nervousness. In a series of three studies, she subjected groups of people to experiences that most everyone would find nerve-racking: completing “a very difficult IQ test” administered “under time pressure”; delivering, on the spot, “a persuasive public speech about ‘why you are a good work partner’ ”; and most excruciating of all, belting out an 80s pop song (“Don’t Stop Believin’,” by Journey). Before beginning the activity, participants were to direct themselves to stay calm, or to tell themselves that they were excited. Reappraising nervousness as excitement yielded a noticeable difference in performance. The IQ test takers scored significantly higher. The speech givers came across as more persuasive, competent, and confident. Even the singers performed more passably (as judged by the Nintendo Wii Karaoke Revolution program they used). All reported genuinely feeling the pleasurable emotion of excitement—a remarkable shift away from the unpleasant discomfort such activities might be expected to engender. In a similar fashion, we can choose to reappraise debilitating “stress” as productive “coping.” A 2010 study carried out with Boston-area undergraduates looked at what happens when people facing a stressful experience are informed about the positive effects of stress on our thinking—that is, the way it can make us more alert and more motivated. Before taking the GRE, the admissions exam for graduate school, one group of students was given the following message to read: “People think that feeling anxious while taking a standardized test will make them do poorly on the test. However, recent research suggests that arousal doesn’t hurt performance on these tests and can even help performance. People who feel anxious during a test might actually do better. This means that you shouldn’t feel concerned if you do feel anxious while taking today’s GRE test. If you find yourself feeling anxious, simply remind yourself that your arousal could be helping you do well.” A second group received no such message before taking the exam. Three months later, when the students’ GRE scores were released, the students who had been encouraged to reappraise their feelings of stress scored an average of 65 points higher.

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

If romantic words were the pilar of love, poets and singers would not divorce; and if money was the mainstay of a family, billionaire families in dollars would never break up.

Sidgwick thinks these judgments give rise to a “dictate of reason,” by which he means that if we were purely rational beings, it would motivate us to action. Human beings are not purely rational beings, so although accepting the dictate of reason will give us a motive to act in the way the maxim of benevolence prescribes, we are likely to have other motives, some of which will support it and some that may conflict with it. Among the supporting motives will be what Sidgwick called “sympathy and philanthropic enthusiasm,” by which he may mean something akin to what today would be called empathy. Among the opposing motives may be racism, nationalism, and egoism. But in a person who sees that it is more rational to aim at the good of all than the good of some smaller group, following one’s own interest and disregarding the interests of others is likely to seem “ignoble.” That will produce a sense of discomfort that Sidgwick calls “the normal emotional concomitant or expression” of the recognition that the good of the whole—that is, of everyone—is to be preferred to the good of the part, that is, oneself.

Man may pat me on the back in celebration of my actions, but God's eyes are piercing into the hidden place of my motivations. He cannot be fooled.

Perhaps it is not love that motivates effective altruists but empathy, the ability to put oneself in the position of others and identify with their feelings or emotions. Writers like de Waal and Jeremy Rifkin have seized on the idea of empathy as, to use de Waal’s words, “the grand theme of our time.”4 Rifkin believes that civilization has spread the reach of empathy beyond the family and the community so that it covers all of humankind.

if you start to talk about you do I buy you a mirror for your birthday? Robert Sherriff-Australian - Actor-Model-Poet- Author-Singer- Historian - Photographer Robert Sherriff Author of NOBODY'S HOME Robert Sherriff Author of Dirkbell – CHILDREN'S BOOK Part of Wolf Creek TV series 2015 Part of Movie 'Maurice’s Symphony’ 2015 Motivation Speaker Movie - Snuff 2016 Movie - CULT 2016 Australian Copyright Act 1968 0466246021

If victims deny their own terror, the danger they are in, and their rage, how can they understand their strict compliance with the captor’s every order, their state of extreme arousal, and their hypervigilance to the abuser’s needs, wants, and moods? Having denied the danger, terror, and rage, victims look to their environment and to their internal motivations for cues to explain their behavior and state of extreme arousal (cf. D. J. Bern 1972; Festinger 1957; Schachter and Singer 1962). Seeing themselves being compliant and even hypervigilant to the abuser’s needs, they interpret their physiological arousal and behavior as indicating they have strong positive feelings for the abuser (cf. Walster 1971; Walster and Berscheid 1971). The more extreme the state of arousal, the stronger the bond experienced by the victims. The more hypervigilant the victims are relative to the kindness shown by the abuser, the stronger the bond is interpreted to be. The harder the victims have to work to win over the abuser, the stronger the victims’ bond to the abuser (cf. Walster and Berscheid 1971).

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

A father is a teacher, a singer, a doctor, a lawyer & every heroic character to his son. But a son is only a son to a father.

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