Skilled Famous Quotes

Vision without execution is hallucination. .. Skill without imagination is barren. Leonardo [da Vinci] knew how to marry observation and imagination, which made him history’s consummate innovator.

Controversy is a last resort for the talentless.

Assimilate ubiquitously. Doublethink. To deliberately believe in lies, while knowing they're false. Examples of this in everyday life: "oh, I need to be pretty to be happy. I need surgery to be pretty. I need to be thin, famous, fashionable.". Our young men today are being told that women are **, **, things to be **, beaten, **, and shamed. This is a marketing holocaust. Twenty-fours hours a day for the rest of our lives, the powers that be are hard at work dumbing us to death. So to defend ourselves, and fight against assimilating this dullness into our thought processes, we must learn to read. To stimulate our own imagination, to cultivate our own consciousness, our own belief systems. We all need skills to defend, to preserve, our own minds.

Keanu Reeves?" she asks in amazement. I nod. "What did he wish for?" "Isn't it obvious?" I say, waving a hand at the screen. "Fame." "That's why he's famous? Because of a wish?" "Have you seen his movies? Surely you didn't think he made it on his acting skills?" I grant wishes; I don't work miracles. Viola looks back at the screen, eyes screwed up in awe. "I guess that makes sense," she says faintly as my former master delivers a line poorly. "Wow.

Zach, this isn't a game, you know. I don't just write it. I live it. I'm a Domme, a female Dominant. There aren't a lot of us around. Most Dominants are men. Technically I'm Switch since I can top and bottom, but if I show up on your doorstep, get ready to say ouch. I'm not good at it - I'm amazing at it. So good at it that I'm as famous down here for my skills with a whip as I am in the straight world for my skills with a pen.

Great teachers had great personalities and that the greatest teachers had outrageous personalities. I did not like decorum or rectitude in a classroom; I preferred a highly oxygenated atmosphere, a climate of intemperance, rhetoric, and feverish melodrama. And I wanted my teachers to make me smart. A great teacher is my adversary, my conqueror, commissioned to chastise me. He leaves me tame and grateful for the new language he has purloined from other kings whose granaries are filled and whose libraries are famous. He tells me that teaching is the art of theft: of knowing what to steal and from whom. Bad teachers do not touch me; the great ones never leave me. They ride with me during all my days, and I pass on to others what they have imparted to me. I exchange their handy gifts with strangers on trains, and I pretend the gifts are mine. I steal from the great teachers. And the truly wonderful thing about them is they would applaud my theft, laugh at the thought of it, realizing they had taught me their larcenous skills well.

If you want to make a difference in someone’s life, you don’t need to be gorgeous, rich, famous, brilliant, or perfect. You just have to care.” – Karen Salmansohn

If you want help in starting to write memoirs, you don't want to fall into the clutches of a famous writer who has been hired to teach at a writing workshop solely because of his name's ability to attract students, rather than because of any teaching skill. You should not have to grapple with someone who secretly thinks you should be writing about his life rather than your own.

As Herb Kelleher famously said, “You don’t hire for skills, you hire for attitude. You can always teach skills.

Adversity turns into advantage With the use of our will Don't wish for less challenge But for more skill

Waiting or pausing takes enormous skill and practice. However it is a skill that for you has become an essential way of being in the world without being so overwhelmed by it. Viktor Frankl, the Austrian psychiatrist and Holocaust survivor, went even further when he famously said, 'Between stimulus and response there is a space. In that space is our power to choose our response. In our response likes our growth and our freedom.' Waiting in the Light enables you to create a space for grace.

Skills have been de-emphasised in art, as elsewhere in the culture. The atomistic nature of our individuality is made clear in Warhol’s tongue-in-cheek ambition for us each to be ‘famous for fifteen minutes’. We’ve all got to be as creative as one another: to accept that some people will always be exceptional is uncomfortable for us. Instead of seeing great art as an indication of what humanity can achieve, it comes to be seen as an expression of what another being, a potential competitor, has achieved.

Marketing is bad manners—and I rely on my naturalistic and ecological instincts. Say you run into a person during a boat cruise. What would you do if he started boasting of his accomplishments, telling you how great, rich, tall, impressive, skilled, famous, muscular, well educated, efficient, and good in bed he is, plus other attributes? You would certainly run away (or put him in contact with another talkative bore to get rid of both of them). It is clearly much better if others (preferably someone other than his mother) are the ones saying good things about him, and it would be nice if he acted with some personal humility.

Rudyard Kipling, in his famous poetic description of what makes for mature and effective adulthood, wrote in part: If you can keep your head When all about you Are losing theirs And blaming it on you... If you can trust yourself When all men doubt you... This famous 1909 poem “If” was inspired in Kipling after observing one military leader’s actions during the Boer Wars (Lt. Colonel Eduardo Jany, personal communication, October, 2007).

In a famous experiment conducted by NASA in the 1990s, researchers fed a variety of psychoactive substances to spiders to see how they would affect their web-making skills. The caffeinated spider spun a strangely cubist and utterly ineffective web, with oblique angles, openings big enough to let small birds through, and completely lacking in symmetry or a center. (The web was far more fanciful than the ones spun by spiders given cannabis or LSD.)

Skills make dreams happen. They build economies. They make people rich and famous. In today’s world, the demands for skills are staggering. Government, business and individuals have too much to achieve, their goals are huge. They are constantly, and I do mean constantly, looking for people with the right skills. People that can get the job done.

most Americans think of Rosa Parks as a demur, pleasant-enough seamstress who backed into history by being too tired to get out of her seat on a bus one day, in reality she had been trained in nonviolence spirit and tactics at a famous institution, Highlander Folk School. It seems to be a difficult concept for most of us that peace is a skill that can be learned. We know war can be learned, but we seem to think that one becomes a peacemaker by a mere change of heart. (23)

He has Axel’s protectiveness without being over the top. If what Melissa tells us is correct, he shares Greg’s bedroom skills. He has that huge heart of gold that Beck is famous for. And of course, he shares Maddox’s strength and determination.

I don’t want to be admired, I just want to be useful. I don’t want to be idolized, I just want to be helpful. I don’t want to be great, I just want to be successful. I don’t want to be immortalized, I just want to be beneficial. I don’t want to be rich, I just want to be cheerful. I don’t want to be famous, I just want to be peaceful. I don’t want to be eminent, I just want to be blissful. I don’t want to be powerful, I just want to be joyful. I don’t want to be influential, I just want to be functional. I don’t want to be worshiped, I just want to be capable. I don’t want to be defied, I just want to be skillful. I don’t want to be pretentious, I just want to be masterful.

Writing is like painting; editing is like sculpture.  Same sensibilities, different skill set.

Writing can feel more like a skill-based lottery. If you work hard and have some base talent, maybe you’ll catch lightning in a bottle and be one of the very few writers who earn eye-popping advances.

Slowly, numbed, I walk through the city's spring, the others' spring, the others' joyous transformation, the others' happiness. I'll never be famous, my poems are worthless. I'll marry a stable skilled worker who doesn't drink, or get a steady job with a pension. After that deadly disappointment, a long time passes before I write in my poetry album again. Even though no one else cares for my poems, I have to write them because it dulls the sorrow and longing in my heart.

If you want to teach a kid a life skill, teach him reality. Give him a picture of what the world will throw his way. Even the rich and famous have their share of heartache and loss. People go broke. People get sick. Loved ones die. There are setbacks, cutbacks, rollbacks, buyouts, layoffs, bankruptcies. Is it fair to reward a kid for everything he does until he’s eighteen, filling his room with trophies regardless how he performs, and then find him shocked the first time he fails a course or loses a girlfriend or gets fired from a job?

Washerwoman, indeed!' he shouted recklessly. 'Ho! ho! I am the Toad, the motor-car snatcher, the prison-breaker, the Toad who always escapes! Sit still, and you shall know what driving really is, for you are in the hands of the famous, the skillful, the entirely fearless Toad!

Everything big, once started little. Most famous people started just where you are at now. Catapult yourself to success. Practice self-discipline. Work to develop excellent skills and abilities. Learn to be polite and diplomatic. Doing this, helps insure you grow big at what you want for success.

Everything big, once started little. Most famous people started just where you are at now. Catapult yourself to success. Practice self-discipline. Work to develop excellent skills and abilities. Learn to be polite and diplomatic. Doing this, helps insure you will grow big at what you want for success.

McKelway could do it all—comment, stories, profiles. He was especially skilled as a rewriter of other people’s troubled stuff, a gift that helped save The New Yorker career of the great A.J. Liebling. But he was most famous for his pieces about odd crimes and strange criminals: imposters, rascals, embezzlers, con men, counterfeiters, and the like.

Marcus Brutus was the original tragic hero of the play ‘Julius Caesar’, Aditya concluded. Perhaps, Shakespeare should have named his play ‘Marcus Brutus’. But then again, it all must have boiled down to saleability and marketing; Julius Caesar being the more famous and thus bankable name. Ironical it was, Aditya smiled. The same Shakespeare had once said-‘What’s in a name...

Even in the warm faelight of the foyer, the gown glittered and gleamed like a fresh-cut jewel. We had taken my gown from Starfall and refashioned it, adding sheer silk panels to the back shoulders, the glittering material like woven starlight as it flowed behind me in lieu of a veil or cape. If Rhysand was Night Triumphant, I was the star that only glowed thanks to his darkness, the light only visible because of him. I scowled up the stairs. That is, if he bothered to show up on time. My hair, Nuala had swept into an ornate, elegant arc across my head, and in front of it... I caught Cassian glancing at me for the third time in less than a minute and demanded, 'What?' His lips twitched at the corners. 'You just look so...' 'Here we go,' Mor muttered from where she picked at her red-tinted nails against the stair banister. Rings glinted at every knuckle, on every finger; stacks of bracelets tinkled against each other on either wrist. 'Official,' Cassian said with an incredulous look in her direction. He waved a Siphon-topped hand to me. 'Fancy.' 'Over five hundred years old,' Mor said, shaking her head sadly, 'a skilled warrior and general, famous throughout territories, and complementing ladies is still something he finds next to impossible. Remind me why we bring you on diplomatic meetings?' Azriel, wreathed in shadows by the front door, chuckled quietly. Cassian shot him a glare. 'I don't see you spouting poetry, brother.' Azriel crossed his arms, still smiling faintly. 'I don't need to resort to it.

Followers Everywhere To start with; Facebook : 10K followers !! Instagram : 710 followers !! Twitter : 20K followers !! Followers!! Followers!! And Followers!! Well, who are these followers? Just more than being a crowd of audience, who are they? Ever thought of? And for what purpose are they following you or someone else? Is it because you are a famous personality, a best friend, or you're someone who holds a high status in the society or just because you're simply rich enough to be followed ? Everyone live their life the way they want to. No one is bound to live under certain limitations or boundaries. Every individual have their own freedom in life. Each one of them is unique too. But what holds us different from others is the work we do for ourselves and for our society. Our behaviour, personality, nature, our attitude towards life and our talents hold us apart from others. Some people are really good and some are really worse than you ever thought of. What I'm trying to say is that some are 'legally' good and they may or may not hold a high position in the society and some are 'illegally' good and they may or may not hold a high position in the society. I just want to say that follow people for who they actually are, for the good work they do for themselves and for everyone. And respect them by being their true follower in a true sense. The person whom you follow doesn't need to be a rich or poor. A person should be rich by heart and poor by wealth! Even I'm not someone to be followed, yet I do have a few followers. It's not because I'm some great personality or a renowned writer, but might be because they like my work. And I feel happy for that. And I thank God for blessing me with this wonderful skill of writing. Even I follow many people including some really great personalities for their good work and for their kind way of serving the society and the poor. And I believe that, this is the true way to show respect for them.

SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?

Valentine’s concept of introversion includes traits that contemporary psychology would classify as openness to experience (“thinker, dreamer”), conscientiousness (“idealist”), and neuroticism (“shy individual”). A long line of poets, scientists, and philosophers have also tended to group these traits together. All the way back in Genesis, the earliest book of the Bible, we had cerebral Jacob (a “quiet man dwelling in tents” who later becomes “Israel,” meaning one who wrestles inwardly with God) squaring off in sibling rivalry with his brother, the swashbuckling Esau (a “skillful hunter” and “man of the field”). In classical antiquity, the physicians Hippocrates and Galen famously proposed that our temperaments—and destinies—were a function of our bodily fluids, with extra blood and “yellow bile” making us sanguine or choleric (stable or neurotic extroversion), and an excess of phlegm and “black bile” making us calm or melancholic (stable or neurotic introversion). Aristotle noted that the melancholic temperament was associated with eminence in philosophy, poetry, and the arts (today we might classify this as opennessto experience). The seventeenth-century English poet John Milton wrote Il Penseroso (“The Thinker”) and L’Allegro (“The Merry One”), comparing “the happy person” who frolics in the countryside and revels in the city with “the thoughtful person” who walks meditatively through the nighttime woods and studies in a “lonely Towr.” (Again, today the description of Il Penseroso would apply not only to introversion but also to openness to experience and neuroticism.) The nineteenth-century German philosopher Schopenhauer contrasted “good-spirited” people (energetic, active, and easily bored) with his preferred type, “intelligent people” (sensitive, imaginative, and melancholic). “Mark this well, ye proud men of action!” declared his countryman Heinrich Heine. “Ye are, after all, nothing but unconscious instruments of the men of thought.” Because of this definitional complexity, I originally planned to invent my own terms for these constellations of traits. I decided against this, again for cultural reasons: the words introvert and extrovert have the advantage of being well known and highly evocative. Every time I uttered them at a dinner party or to a seatmate on an airplane, they elicited a torrent of confessions and reflections. For similar reasons, I’ve used the layperson’s spelling of extrovert rather than the extravert one finds throughout the research literature.

In Aristotle’s famous Ethics, he uses the analogy of a warped piece of wood to describe human nature. In order to eliminate warping or curvature, a skilled woodworker slowly applies pressure in the opposite direction—essentially, bending it straight. Of course, a couple of thousand years later Kant snorted, “Out of the crooked timber of humanity, nothing can be made straight.” We might not ever be straight, but we can strive for straighter.

He told her of horses which he had bought for a trifle and sold for incredible sums; of racing matches, in which his judgment had infallibly foretold the winner; of shooting parties, in which he had killed more birds (though without having one good shot) than all his companions together; and described to her some famous day’s sport, with the fox-hounds, in which his foresight and skill in directing the dogs had repaired the mistakes of the most experienced huntsman, and in which the boldness of his riding, though it had never endangered his own life for a moment, had been constantly leading others into difficulties, which he calmly concluded had broken the necks of many. Little as Catherine was in the habit of judging for herself, and unfixed as were her general notions of what men ought to be, she could not entirely repress a doubt, while she bore with the effusions of his endless conceit, of his being altogether completely agreeable.

It was Horace. He’d squeezed out of his cage again. He could make himself quite runny when he wanted to. There was a broken butter dish on the floor, but although it had been full of butter, there was none there now. There was just a greasy patch. And, from the darkness under the sink, there came a sort of high-speed grumbling noise, a kind of mnnamnamnam.... “Oh, you’re after butter now, are you, Horace?” said Tiffany, picking up the dairy broom. “That’s practically cannibalism, you know.” Still, it was better than mice, she had to admit. Finding little piles of mouse bones on the floor was a bit distressing. Even Miss Treason had not been able to work that one out. A mouse she happened to be looking through would be trying to get at the cheeses and then it would all go dark. That was because Horace was a cheese. Tiffany knew that Lancre Blue cheeses were always a bit on the lively side, and sometimes had to be nailed down, but...well, she was highly skilled at cheese making, even though she said it herself, and Horace was definitely a champion. The famous blue streaks that gave the variety its wonderful color were really pretty, although Tiffany wasn’t sure they should glow in the dark.

In the most devilishly wicked learning environments, experience will reinforce the exact wrong lessons. Hogarth noted a famous New York City physician renowned for his skill as a diagnostician. The man’s particular specialty was typhoid fever, and he examined patients for it by feeling around their tongues with his hands. Again and again, his testing yielded a positive diagnosis before the patient displayed a single symptom. And over and over, his diagnosis turned out to be correct. As another physician later pointed out, “He was a more productive carrier, using only his hands, than Typhoid Mary.” Repetitive success, it turned out, taught him the worst possible lesson.

Nobody has made the point better than George Orwell in his translation into modern bureaucratic fuzz of this famous verse from Ecclesiastes: I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favor to men of skill; but time and chance happeneth to them all. Orwell’s version goes: Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.

The central issue is not their intelligence, nor, more than likely, even their lack of familiarity with different styles of writing. Rather, it may come back to a lack of cognitive patience with demanding critical analytic thinking and a concomitant failure to acquire the cognitive persistence, what the psychologist Angela Duckworth famously called “grit,”54 nurtured by the very genres being avoided. Just as earlier I described how a lack of background knowledge and critical analytical skills can render any reader susceptible to unadjudicated or even false information, the insufficient formation and lack of use of these complex intellectual skills can render our young people less able to read and write well and therefore less prepared for their own futures.

Doth pride lead to vanity? Doth vanity form imaginary wants? Do these wants prompt men to exert their power in requiring more from others than they would be willing to perform themselves, were the same required of them? Do these proceedings beget hard thoughts? Do hard thoughts, when ripe, become malice? Does malice, when ripe, become revengeful, and in the end inflict terrible pains on our fellow-creatures and spread desolations in the world? "Do mankind, walking in uprightness, delight in each other's happiness? And do those who are capable of this attainment, by giving way to an evil spirit, employ their skill and strength to afflict and destroy one another? Remember then, O my soul! the quietude of those in whom Christ governs, and in all thy proceedings feel after it.

Groupies and hangers-on somehow fancy themselves entitled to the narcissist’s favour and largesse, his time, attention, and other resources. They convince themselves that they are exempt from the narcissist’s rage and wrath and immune to his vagaries andabuse . This self-imputed and self-conferred status irritates the narcissist no end as it challenges and encroaches on his standing as the only source of preferential treatment and the sole decision-maker when it comes to the allocation of his precious and cosmically significant wherewithal. The narcissist is the guru at the centre of a cult. Like other gurus, he demands complete obedience from his flock: his spouse, his offspring, other family  members, friends, and colleagues. He feels entitled to adulation and special treatment by his followers. He punishes the wayward and the straying lambs. He enforces discipline, adherence to his teachings, and common goals. The less accomplished he is in reality – the more stringent his mastery and the more pervasive the brainwashing. Cult leaders are narcissists who failed in their mission to "be someone", to become famous, and to impress the world with their uniqueness, talents, traits, and skills. Such disgruntled narcissists withdraw into a "zone of comfort" (known as the "Pathological Narcissistic Space") that assumes the hallmarks of a cult. The – often involuntary – members of the narcissist's mini-cult inhabit a twilight zone of his own construction. He imposes on them an exclusionary or inclusionary shared psychosis, replete with persecutory delusions, "enemies", mythical-grandiose narratives, and apocalyptic scenarios if he is flouted. Exclusionary shared psychosis involves the physical and emotional isolation of the narcissist and his “flock” (spouse, children, fans, friends) from the outside world in order to better shield them from imminent threats and hostile intentions. Inclusionary shared psychosis revolves around attempts to spread the narcissist’s message in a missionary fashion among friends, colleagues, co-workers, fans, churchgoers, and anyone else who comes across the mini-cult. The narcissist's control is based on ambiguity, unpredictability, fuzziness, and ambientabuse . His ever-shifting whims exclusively define right versus wrong, desirable and unwanted, what is to be pursued and what to be avoided. He alone determines the rights and obligations of his disciples and alters them at will.

Bertrand Russell famously said: “It is undesirable to believe a proposition when there is no ground whatsoever for supposing it is true.” [but] Russell’s maxim is the luxury of a technologically advanced society with science, history, journalism, and their infrastructure of truth-seeking, including archival records, digital datasets, high-tech instruments, and communities of editing, fact-checking, and peer review. We children of the Enlightenment embrace the radical creed of universal realism: we hold that all our beliefs should fall within the reality mindset. We care about whether our creation story, our founding legends, our theories of invisible nutrients and germs and forces, our conceptions of the powerful, our suspicions about our enemies, are true or false. That’s because we have the tools to get answers to these questions, or at least to assign them warranted degrees of credence. And we have a technocratic state that should, in theory, put these beliefs into practice. But as desirable as that creed is, it is not the natural human way of believing. In granting an imperialistic mandate to the reality mindset to conquer the universe of belief and push mythology to the margins, we are the weird ones—or, as evolutionary social scientists like to say, the WEIRD ones: Western, Educated, Industrialized, Rich, Democratic. At least, the highly educated among us are, in our best moments. The human mind is adapted to understanding remote spheres of existence through a mythology mindset. It’s not because we descended from Pleistocene hunter-gatherers specifically, but because we descended from people who could not or did not sign on to the Enlightenment ideal of universal realism. Submitting all of one’s beliefs to the trials of reason and evidence is an unnatural skill, like literacy and numeracy, and must be instilled and cultivated.

That this exceptionally scholarly man whose judgments, always rich and sensitive, though sometimes austere, should have embarked on an intensely romantic retelling of the old Cornish legend of that famous pair of tragic lovers, Tristan and Queen Iseult, is intriguing in itself. But what makes it even more fascinating is that Daphne du Maurier, asked by “Q” ’s daughter long after her father’s death to finish this novel that he had set aside “near the end of a chapter, halfway through,” did so in such a skillful fashion that it is impossible to guess with any certainty the exact point at which she began to write. She says, in a modest foreword, that she “could not imitate ‘Q’’s style… that would have been robbing the dead,” but she had known him when she was a child, remembered him as a genial host at many a Sunday supper, and “by thinking back to conversations long forgotten” she could recapture something of the man himself and trust herself to “fall into his mood.

It has been noted in various quarters that the half-illiterate Italian violin maker Antonio Stradivari never recorded the exact plans or dimensions for how to make one of his famous instruments. This might have been a commercial decision (during the earliest years of the 1700s, Stradivari’s violins were in high demand and open to being copied by other luthiers). But it might also have been because, well, Stradivari didn’t know exactly how to record its dimensions, its weight, and its balance. I mean, he knew how to create a violin with his hands and his fingers but maybe not in figures he kept in his head. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari’s craftsmanship. They’ve worked out that he used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. They’ve figured out that he also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But they still can’t replicate a Stradivarius. The genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what the philosopher Michael Polyani called “elbow learning.” This is the process where a protégé is trained in a new art or skill by sitting at the elbow of a master and by learning the craft through doing it, copying it, not simply by reading about it. The apprentices of the great Stradivari didn’t learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. In his book Personal Knowledge, Polyani wrote, “Practical wisdom is more truly embodied in action than expressed in rules of action.”1 By that he meant that we learn as Stradivari’s protégés did, by feeling the weight of a piece of wood, not by reading the prescribed measurements in a manual. Polyani continues, To learn by example is to submit to authority. You follow your master because you trust his manner of doing things even when you cannot analyze and account in detail for its effectiveness. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another.

Johnson is after all the most accomplished liar in public life – perhaps the best liar ever to serve as prime minister. Some of this may have been a natural talent – but a lifetime of practice and study has allowed him to uncover new possibilities which go well beyond all the classifications of dishonesty attempted by classical theorists like St Augustine. He has mastered the use of error, omission, exaggeration, diminution, equivocation and flat denial. He has perfected casuistry, circumlocution, false equivalence and false analogy. He is equally adept at the ironic jest, the fib and the grand lie; the weasel word and the half-truth; the hyperbolic lie, the obvious lie, and the bullshit lie – which may inadvertently be true. And because he has been so famous for this skill for so long, he can use his reputation to ascend to new levels of playful paradox. Thus he could say to me “Rory, don’t believe anything I am about to say, but I would like you to be in my cabinet” – and still have me laugh in admiration.

Lazlo Bock, senior vice president of people operations at Google, made the following comments in an interview published by the New York Times in June 2013: “One of the things we’ve seen from all our data crunching is that G.P.A.’s (grade point averages) are worthless as a criteria for hiring, and test scores are worthless. Google famously used to ask everyone for a transcript and G.P.A.’s and test scores, but we don’t anymore…. We found that they don’t predict anything. What’s interesting is the proportion of people without any college education at Google has increased over time as well. So we have teams where you have 14 percent of the team made up of people who’ve never gone to college.” Doing well in college—earning high test scores and grades—has no measurable correlation with becoming an effective worker or manager.  This is incontrovertible evidence that the entire Higher Education system is detached from the real economy: excelling in higher education has little discernible correlation to real-world skills or performance.

There is no doubt that the shock of an... emotional experience is often needed to make people wake up and pay attention to what they are doing. There's a famous case of the 13th century Spanish Hidalgo, Raimon Lull, who finally (after a long chase) succeeded in meeting the lady he admired at a secret rendezvous. She silently opened her dress and showed him her breast, rotten with cancer. The shock changed Lull's life; he eventually became an eminent Theologian and one of the Church's greatest missionaries. In the case of such a sudden change one can often prove that an archetype has been at work for a long time in the unconscious, skillfully arranging circumstances that will lead to the crisis... such experiences seem to show that archetypal forms are not just static patterns. They are Dynamic factors that manifest themselves in impulses, just as spontaneously as the instincts. Certain dreams, visions, or thoughts can suddenly appear; and however carefully one investigates, one cannot find out what causes them. This does not mean that they have no cause; they certainly have. But it is so remote or obscure that one cannot see what it is.

This means that it is a mistake to identify our individuality with any particular talent, function, or aspect of ourselves. However, very often this is just what we do. If a person feels inferior and depressed in the presence of people who are more intelligent, who have read more books, who have traveled more, who are more famous, or who are more skillful or knowledgeable in art, music, politics, or any other human endeavor, then that person is making the mistake of identifying some particular aspect or function of himself with his essential individuality. Because a particular capacity is inferior to that of another person, he feels himself to be inferior. This feeling then leads either to depressive withdrawal or to defensive, competitive efforts to prove he is not inferior. If such a person can experience the fact that his individuality and personal worth are beyond all particular manifestation his security will no longer be threatened by the accomplishments of others. This sense of innate worth prior to and irrespective of deeds and accomplishments is the precious deposit that is left in the psyche by the experience of genuine parental love.

The Republican Roosevelt wanted to fight plutocrats as well as anarchists. Their plunder of oil, coal, minerals, and timber on federal lands appalled him, in his role as the founder of America’s national parks. Corporate criminals, carving up public property for their private profit, paid bribes to politicians to protect their land rackets. Using thousand-dollar bills as weapons, they ransacked millions of acres of the last American frontiers. In 1905, a federal investigation, led in part by a scurrilous Secret Service agent named William J. Burns, had led to the indictment and conviction of Senator John H. Mitchell and Representative John H. Williamson of Oregon, both Republicans, for their roles in the pillage of the great forests of the Cascade Range. An Oregon newspaper editorial correctly asserted that Burns and his government investigators had used “the methods of Russian spies and detectives.” The senator died while his case was on appeal; the congressman’s conviction was overturned by the U.S. Supreme Court on grounds of “outrageous conduct,” including Burns’s brazen tampering with jurors and witnesses. Burns left the government and became a famous private eye; his skills at tapping telephones and bugging hotel rooms eventually won him a job as J. Edgar Hoover’s

There are. Storytelling may be the mind’s way of rehearsing for the real world, a cerebral version of the playful activities documented across numerous species which provide a safe means for practicing and refining critical skills. Leading psychologist and all-around man of the mind Steven Pinker describes a particularly lean version of the idea: “Life is like chess, and plots are like those books of famous chess games that serious players study so they will be prepared if they ever find themselves in similar straits.” Pinker imagines that through story we each build a “mental catalogue” of strategic responses to life’s potential curveballs, which we can then consult in moments of need. From fending off devious tribesmen to wooing potential mates, to organizing collective hunts, to avoiding poisonous plants, to instructing the young, to apportioning meager food supplies, and so on, our forebears faced one obstacle after another as their genes sought a presence in subsequent generations. Immersion in fictional tales grappling with a wide assortment of similar challenges would have had the capacity to refine our forebears’ strategies and responses. Coding the brain to engage with fiction would thus be a clever way to cheaply, safely, and efficiently give the mind a broader base of experience from which to operate.

In their famous Critique of the Gotha Programme Marx and Engels speak about two phases of communism, the lower and the higher. In the lower one there still prevails the "narrow horizon of bourgeois rights" with its inequality and its wide differentials in individual incomes. Obviously, if in socialism society, according to Marx, still needs to secure the full development of its productive forces until a real economy of wealth and abundance is created, then it has to reward skill and offer incentives. The bureaucrat is in a sense the skilled worker, and there is no doubt that he will place himself on the privileged side of the scale... In practice it proved impossible to establish and maintain the principle proclaimed by the Commune of Paris which served Marx as the guarantee against the rise of bureaucracy, the principle extolled again by Lenin on the eve of October, according to which the functionary should not earn more than the ordinary worker's wage. This principle implied a truly egalitarian society -- and here is part of an important contradiction in the thought of Marx and his disciples. Evidently the argument that no civil servant, no matter how high his function, must earn more than an ordinary worker cannot be reconciled with the other argument that in the lower phase of socialism, which still bears the stamp of "bourgeois rights," it would be utopian to expect "equality of distribution.

Fortunate beyond measure… wise and provident in counsel, well-learned in law, history, humanity and divinity. He understood Latin, French, Spanish, Italian, and High and Low-Dutch, besides his native language. He was of quick apprehension, judicious and skillful in nature, elegant in speech, sweet, familiar and affable in behaviour; stern to the obstinate, but calm and meek to the humble. Magnanimous and courageous above all the princes of his days; apt for war but a lover of peace; never puffed up with prosperity nor dismayed at adversity. He was of an exalted, glorious, and truly royal spirit, which never entertained anything vulgar or trivial, as may appear by the most excellent laws which he made, by those two famous jubilees he kept, and by the most honourable Order of the Garter, which he first devised and founded. His recreations were hawking, hunting and fishing, but chiefly he loved the martial exercise of jousts and tournaments. In his buildings he was curious, splendid and magnificent, in bestowing of graces and donations, free and frequent; and to the ingenious and deserving always kind and liberal; devout to God, bountiful to the clergy, gracious to his people, merciful to the poor, true to his word, loving to his friends, terrible to his enemies… In short he had the most virtues and the fewest vices of any prince that ever I read of. He was valiant, just, merciful, temperate, and wise; the best lawgiver, the best friend, the best father, and the best husband in his days.5

If this is true—if solitude is an important key to creativity—then we might all want to develop a taste for it. We’d want to teach our kids to work independently. We’d want to give employees plenty of privacy and autonomy. Yet increasingly we do just the opposite. We like to believe that we live in a grand age of creative individualism. We look back at the midcentury era in which the Berkeley researchers conducted their creativity studies, and feel superior. Unlike the starched-shirted conformists of the 1950s, we hang posters of Einstein on our walls, his tongue stuck out iconoclastically. We consume indie music and films, and generate our own online content. We “think different” (even if we got the idea from Apple Computer’s famous ad campaign). But the way we organize many of our most important institutions—our schools and our workplaces—tells a very different story. It’s the story of a contemporary phenomenon that I call the New Groupthink—a phenomenon that has the potential to stifle productivity at work and to deprive schoolchildren of the skills they’ll need to achieve excellence in an increasingly competitive world. The New Groupthink elevates teamwork above all else. It insists that creativity and intellectual achievement come from a gregarious place. It has many powerful advocates. “Innovation—the heart of the knowledge economy—is fundamentally social,” writes the prominent journalist Malcolm Gladwell. “None of us is as smart as all of us,” declares the organizational consultant Warren Bennis,

The Sublician is the oldest of our bridges, although it has been destroyed and rebuilt several times. The very name refers to the heavy timbers of which it was once built, but the present bridge is of stone. For many generations it was the only bridge over the Tiber at Rome, because the Etruscans lived on the other bank, and Rome was strong enough to defend only one bridge at a time. The most famous story concerning the bridge is the one about Horatius Cocles, who is said to have held off the army of Lars Porsena single-handed while the Romans dismantled the bridge behind him. There are several versions of this celebrated tale. In one of them, Horatius is simply the point man of a wedge of Romans. In another, he held the bridge with two companions, who fell at his side before the bridge was destroyed. In a third, Horatius held the bridge alone right from the first. Personally, I think only the first version has any truth to it. I have been in many battles and skirmishes and played a heroic part in none of them. But I have seen last-ditch stands and delaying actions in plenty, and I have never seen a place, however narrow, that could be defended against an army by a single man for more than a minute or so. No matter how strong and skillful you are, while one man engages you, somebody else can always thrust a spear over the rim of your shield. And then there are the arrows and sling-stones that always fly about in such profusion when men thirst for one another’s blood. Supposedly, when the bridge was destroyed, Horatius somehow found leisure to address a prayer to Tiberinus, god of the river, and leaped in fully armed and swam across to great applause, to be rewarded richly by the citizenry. Another version has him drowning, which is what usually happens when a man in armor finds himself in deep water.

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what makes life worth living when we are old and frail and unable to care for ourselves? In 1943, the psychologist Abraham Maslow published his hugely influential paper “A Theory of Human Motivation,” which famously described people as having a hierarchy of needs. It is often depicted as a pyramid. At the bottom are our basic needs—the essentials of physiological survival (such as food, water, and air) and of safety (such as law, order, and stability). Up one level are the need for love and for belonging. Above that is our desire for growth—the opportunity to attain personal goals, to master knowledge and skills, and to be recognized and rewarded for our achievements. Finally, at the top is the desire for what Maslow termed “self-actualization”—self-fulfillment through pursuit of moral ideals and creativity for their own sake. Maslow argued that safety and survival remain our primary and foundational goals in life, not least when our options and capacities become limited. If true, the fact that public policy and concern about old age homes focus on health and safety is just a recognition and manifestation of those goals. They are assumed to be everyone’s first priorities. Reality is more complex, though. People readily demonstrate a willingness to sacrifice their safety and survival for the sake of something beyond themselves, such as family, country, or justice. And this is regardless of age. What’s more, our driving motivations in life, instead of remaining constant, change hugely over time and in ways that don’t quite fit Maslow’s classic hierarchy. In young adulthood, people seek a life of growth and self-fulfillment, just as Maslow suggested. Growing up involves opening outward. We search out new experiences, wider social connections, and ways of putting our stamp on the world. When people reach the latter half of adulthood, however, their priorities change markedly. Most reduce the amount of time and effort they spend pursuing achievement and social networks. They narrow in. Given the choice, young people prefer meeting new people to spending time with, say, a sibling; old people prefer the opposite. Studies find that as people grow older they interact with fewer people and concentrate more on spending time with family and established friends. They focus on being rather than doing and on the present more than the future.

In 2009, Kahneman and Klein took the unusual step of coauthoring a paper in which they laid out their views and sought common ground. And they found it. Whether or not experience inevitably led to expertise, they agreed, depended entirely on the domain in question. Narrow experience made for better chess and poker players and firefighters, but not for better predictors of financial or political trends, or of how employees or patients would perform. The domains Klein studied, in which instinctive pattern recognition worked powerfully, are what psychologist Robin Hogarth termed “kind” learning environments. Patterns repeat over and over, and feedback is extremely accurate and usually very rapid. In golf or chess, a ball or piece is moved according to rules and within defined boundaries, a consequence is quickly apparent, and similar challenges occur repeatedly. Drive a golf ball, and it either goes too far or not far enough; it slices, hooks, or flies straight. The player observes what happened, attempts to correct the error, tries again, and repeats for years. That is the very definition of deliberate practice, the type identified with both the ten-thousand-hours rule and the rush to early specialization in technical training. The learning environment is kind because a learner improves simply by engaging in the activity and trying to do better. Kahneman was focused on the flip side of kind learning environments; Hogarth called them “wicked.” In wicked domains, the rules of the game are often unclear or incomplete, there may or may not be repetitive patterns and they may not be obvious, and feedback is often delayed, inaccurate, or both. In the most devilishly wicked learning environments, experience will reinforce the exact wrong lessons. Hogarth noted a famous New York City physician renowned for his skill as a diagnostician. The man’s particular specialty was typhoid fever, and he examined patients for it by feeling around their tongues with his hands. Again and again, his testing yielded a positive diagnosis before the patient displayed a single symptom. And over and over, his diagnosis turned out to be correct. As another physician later pointed out, “He was a more productive carrier, using only his hands, than Typhoid Mary.” Repetitive success, it turned out, taught him the worst possible lesson. Few learning environments are that wicked, but it doesn’t take much to throw experienced pros off course. Expert firefighters, when faced with a new situation, like a fire in a skyscraper, can find themselves suddenly deprived of the intuition formed in years of house fires, and prone to poor decisions. With a change of the status quo, chess masters too can find that the skill they took years to build is suddenly obsolete.

Weston, having been born in Chicago, was raised with typical, well-grounded, mid-western values. On his 16th birthday, his father gave him a Kodak camera with which he started what would become his lifetime vocation. During the summer of 1908, Weston met Flora May Chandler, a schoolteacher who was seven years older than he was. The following year the couple married and in time they had four sons. Weston and his family moved to Southern California and opened a portrait studio on Brand Boulevard, in the artsy section of Glendale, California, called Tropico. His artistic skills soon became apparent and he became well known for his portraits of famous people, such as Carl Sandburg and Max Eastman. In the autumn of 1913, hearing of his work, Margrethe Mather, a photographer from Los Angeles, came to his studio, where Weston asked her to be his studio assistant. It didn’t take long before the two developed a passionate, intimate relationship. Both Weston and Mather became active in the growing bohemian cultural scene in Los Angeles. She was extremely outgoing and artistic in a most flamboyant way. Her bohemian sexual values were new to Weston’s conventional thinking, but Mather excited him and presented him with a new outlook that he found enticing. Mather was beautiful, and being bisexual and having been a high-class prostitute, was delightfully worldly. Mather's uninhibited lifestyle became irresistible to Weston and her photography took him into a new and exciting art form. As Mather worked and overtly played with him, she presented a lifestyle that was in stark contrast to Weston’s conventional home life, and he soon came to see his wife Flora as a person with whom he had little in common. Weston expanded his horizons but tried to keep his affairs with other women a secret. As he immersed himself further into nude photography, it became more difficult to hide his new lifestyle from his wife. Flora became suspicious about this secret life, but apparently suffered in silence. One of the first of many women who agreed to model nude for Weston was Tina Modotti. Although Mather remained with Weston, Tina soon became his primary model and remained so for the next several years. There was an instant attraction between Tina Modotti, Mather and Edward Weston, and although he remained married, Tina became his student, model and lover. Richey soon became aware of the affair, but it didn’t seem to bother him, as they all continued to remain good friends. The relationship Tina had with Weston could definitely be considered “cheating,” since knowledge of the affair was withheld as much as possible from his wife Flora May. Perhaps his wife knew and condoned this new promiscuous relationship, since she had also endured the intense liaison with Margrethe Mather. Tina, Mather and Weston continued working together until Tina and Weston suddenly left for Mexico in 1923. As a group, they were all a part of the cozy, artsy, bohemian society of Los Angeles, which was where they were introduced to the then-fashionable, communistic philosophy.

Late in the nineteenth century came the first signs of a “Politics in a New Key”: the creation of the first popular movements dedicated to reasserting the priority of the nation against all forms of internationalism or cosmopolitanism. The decade of the 1880s—with its simultaneous economic depression and broadened democratic practice—was a crucial threshold. That decade confronted Europe and the world with nothing less than the first globalization crisis. In the 1880s new steamships made it possible to bring cheap wheat and meat to Europe, bankrupting family farms and aristocratic estates and sending a flood of rural refugees into the cities. At the same time, railroads knocked the bottom out of what was left of skilled artisanal labor by delivering cheap manufactured goods to every city. At the same ill-chosen moment, unprecedented numbers of immigrants arrived in western Europe—not only the familiar workers from Spain and Italy, but also culturally exotic Jews fleeing oppression in eastern Europe. These shocks form the backdrop to some developments in the 1880s that we can now perceive as the first gropings toward fascism. The conservative French and German experiments with a manipulated manhood suffrage that I alluded to earlier were extended in the 1880s. The third British Reform Bill of 1884 nearly doubled the electorate to include almost all adult males. In all these countries, political elites found themselves in the 1880s forced to adapt to a shift in political culture that weakened the social deference that had long produced the almost automatic election of upper-class representatives to parliament, thereby opening the way to the entry of more modest social strata into politics: shopkeepers, country doctors and pharmacists, small-town lawyers—the “new layers” (nouvelles couches) famously summoned forth in 1874 by Léon Gambetta, soon to be himself, the son of an immigrant Italian grocer, the first French prime minister of modest origins. Lacking personal fortunes, this new type of elected representative lived on their parliamentarians’ salary and became the first professional politicians. Lacking the hereditary name recognition of the “notables” who had dominated European parliaments up to then, the new politicians had to invent new kinds of support networks and new kinds of appeal. Some of them built political machines based upon middle-class social clubs, such as Freemasonry (as Gambetta’s Radical Party did in France); others, in both Germany and France, discovered the drawing power of anti-Semitism and nationalism. Rising nationalism penetrated at the end of the nineteenth century even into the ranks of organized labor. I referred earlier in this chapter to the hostility between German-speaking and Czech-speaking wage earners in Bohemia, in what was then the Habsburg empire. By 1914 it was going to be possible to use nationalist sentiment to mobilize parts of the working class against other parts of it, and even more so after World War I. For all these reasons, the economic crisis of the 1880s, as the first major depression to occur in the era of mass politics, rewarded demagoguery. Henceforth a decline in the standard of living would translate quickly into electoral defeats for incumbents and victories for political outsiders ready to appeal with summary slogans to angry voters.

It is somewhat ironic to have us so deeply disturbed over a program where race is an element of consciousness, and yet to be aware of the fact, as we are, that institutions of higher learning, albeit more on the undergraduate than the graduate level, have given conceded preferences up to a point to those possessed of athletic skills, to the children of alumni, to the affluent who may bestow their largess on the institutions, and to those having connections with celebrities, the famous, and the powerful.

Correlation is enough,” 2 then-Wired editor in chief Chris Anderson famously declared in 2008. We can, he implied, solve innovation problems by the sheer brute force of the data deluge. Ever since Michael Lewis chronicled the Oakland A’s unlikely success in Moneyball (who knew on-base percentage was a better indicator of offensive success than batting averages?), organizations have been trying to find the Moneyball equivalent of customer data that will lead to innovation success. Yet few have. Innovation processes in many companies are structured and disciplined, and the talent applying them is highly skilled. There are careful stage-gates, rapid iterations, and checks and balances built into most organizations’ innovation processes. Risks are carefully calculated and mitigated. Principles like six-sigma have pervaded innovation process design so we now have precise measurements and strict requirements for new products to meet at each stage of their development. From the outside, it looks like companies have mastered an awfully precise, scientific process. But for most of them, innovation is still painfully hit or miss. And worst of all, all this activity gives the illusion of progress, without actually causing it. Companies are spending exponentially more to achieve only modest incremental innovations while completely missing the mark on the breakthrough innovations critical to long-term, sustainable growth. As Yogi Berra famously observed: “We’re lost, but we’re making good time!” What’s gone so wrong? Here is the fundamental problem: the masses and masses of data that companies accumulate are not organized in a way that enables them to reliably predict which ideas will succeed. Instead the data is along the lines of “this customer looks like that one,” “this product has similar performance attributes as that one,” and “these people behaved the same way in the past,” or “68 percent of customers say they prefer version A over version B.” None of that data, however, actually tells you why customers make the choices that they do.

In my heart, I believe that I am a passionate and intuitive cook who could make a five-course meal without even looking at a recipe. I feel I have the flash and charismatic personality of a famous chef, the fiery tenacity of Gordon Ramsay, and the soulful sexuality of Tom Colicchio. The problem is that I lack all basic skill. For instance, my dad had to come over to show me how to turn my oven on. It is sad when your hopes and your abilities do not line up. I

In earnest, I shall echo your earlier proclamation, my friend, and state that in my mind the acquaintance of not only Cyprian Wythe, but any lover of King George is a grave displeasure.” Thomas raised his glass. “Hear, hear, my friend.” “Then I am surprised that you are able to abide my presence.” Kitty’s stiff response blasted a hole through Nathaniel’s middle and the resulting silence choked the merriment from their little circle like thick black smoke. He looked up only to be censured from the shock that drained the light from her eyes. Her lips pressed tight, turning them colorless.  The blood drained from his face. Idiot!  He couldn’t bring himself to look away from her wounded expression, aching for words that would soothe the pain he’d inflicted. The pleasant tune from the quartet and the quiet hum of voices continued around them, each guest blissfully unaware of his thoughtless remark. Thomas reached out to her, his brow pinching. “Kitty, you must know our comments are no reflection on you.” “Are they not?” She handed her glass to Eliza. “If you’ll excuse me, I shall take my leave so as not to injure you with my presence any longer.” Kitty brushed between them before facing them one last time. “Forgive me, Eliza.” She darted from the room, holding her skirts as she wove through the tangle of party-goers toward the exit. The hollow chill her absence created smacked Nathaniel on the back of the head like an irritated father. He exchanged a narrow glance with Thomas before slamming his eyes shut. How could he be so foolish? How could he have allowed himself to say something so hurtful to someone so gracious? The temperature of the room went hot, then instantly cold. So much for your famous charm, Nathaniel. You’ve proven your lack of it with amazing skill. “I’m

As Bill Gates famously said, “Most people overestimate what they can do in one year and underestimate what they can do in ten years.” My

Bezos took a series of odd jobs throughout high school. One summer he famously worked as a fryer at a local McDonald’s, learning, among other skills, how to crack an egg with one hand.

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry. Around

Before the 1940’s, if one woman in an audience stood up and shrieked at the top of her lungs throughout an entire show she’d have been carted off to an asylum. By the mid-forties, however, entire audiences behaved like that, screaming, tearing at their clothes and hair, leaving their seats to board the stage. On December 30th, 1942, while Frank Sinatra sang at the Paramount Theater in New York, the behavior of the audience changed, and a part of our relationship to well-known people changed forever. Psychiatrists and psychologists of the day struggled to explain the phenomenon. They recalled medieval dance crazes, spoke of “mass frustrated love” and “mass hypnosis.” The media age did bring a type of mass hypnosis into American life. It affects all of us to some degree, and some of us to a great degree. Before the advent of mass-media, a young girl might have admired a performer from afar, and it would have been acceptable to have a passing crush. It would not have been acceptable if she pursued the performer to his home, or if she had to be restrained by police. It would not have been acceptable to skip school in order to wait for hours outside a hotel and then try to tear pieces of clothing from the passing star. Yet that unhealthy behavior became “normal” in the Sinatra days. In fact, audience behavior that surprised everyone in 1942 was expected two years later when Sinatra appeared again at the Paramount Theater. This time, the 30,000 screaming, bobby-soxed fans were joined by a troop of reporters. The media were learning to manipulate this new behavior to their advantage. Having predicted a commotion, 450 police officers were assigned to that one theater, and it appeared that society had learned to deal with this phenomenon. It had not. During the engagement, an 18-year old named Alexander Ivanovich Dorogokupetz stood up in the theater and threw an egg that hit Sinatra in the face. The show stopped, and for a moment, a brief moment, Sinatra was not the star. Now it was Dorogokupetz mobbed by audience members and Dorogokupetz who had to be escorted out by police. Society had not learned to deal with this, and still hasn’t. Dorogokupetz told police: “I vowed to put an end to this monotony of two years of consecutive swooning. It felt good.” Saddled with the least American of names, he had tried to make one for himself in the most American way, and but for his choice of a weapon, he would probably be as famous today as Frank Sinatra. Elements in society were pioneering the skills of manipulating emotion and behavior in ways that had never been possible before: electronic ways. The media were institutionalizing idolatry.

His ancestors had formed a small but deadly army to defend themselves. The army became famous across the land as protectors—skilled executioners who wandered the countryside slaughtering any of the enemy they could find. They were renowned not only for their brutal killings, but also for celebrating their slayings by plunging themselves into drug-induced stupors. Their drug of choice was a potent intoxicant they called hashish. As their notoriety spread, these lethal men became known by a single word—Hassassin—literally “the followers of hashish.” The name Hassassin became synonymous with death in almost every language on earth.

Third, the idea that venture capitalists get into deals on the strength of their brands can be exaggerated. A deal seen by a partner at Sequoia will also be seen by rivals at other firms: in a fragmented cottage industry, there is no lack of competition. Often, winning the deal depends on skill as much as brand: it’s about understanding the business model well enough to impress the entrepreneur; it’s about judging what valuation might be reasonable. One careful tally concluded that new or emerging venture partnerships capture around half the gains in the top deals, and there are myriad examples of famous VCs having a chance to invest and then flubbing it.[6] Andreessen Horowitz passed on Uber. Its brand could not save it. Peter Thiel was an early investor in Stripe. He lacked the conviction to invest as much as Sequoia. As to the idea that branded venture partnerships have the “privilege” of participating in supposedly less risky late-stage investment rounds, this depends from deal to deal. A unicorn’s momentum usually translates into an extremely high price for its shares. In the cases of Uber and especially WeWork, some late-stage investors lost millions. Fourth, the anti-skill thesis underplays venture capitalists’ contributions to portfolio companies. Admittedly, these contributions can be difficult to pin down. Starting with Arthur Rock, who chaired the board of Intel for thirty-three years, most venture capitalists have avoided the limelight. They are the coaches, not the athletes. But this book has excavated multiple cases in which VC coaching made all the difference. Don Valentine rescued Atari and then Cisco from chaos. Peter Barris of NEA saw how UUNET could become the new GE Information Services. John Doerr persuaded the Googlers to work with Eric Schmidt. Ben Horowitz steered Nicira and Okta through their formative moments. To be sure, stories of venture capitalists guiding portfolio companies may exaggerate VCs’ importance: in at least some of these cases, the founders might have solved their own problems without advice from their investors. But quantitative research suggests that venture capitalists do make a positive impact: studies repeatedly find that startups backed by high-quality VCs are more likely to succeed than others.[7] A quirky contribution to this literature looks at what happens when airline routes make it easier for a venture capitalist to visit a startup. When the trip becomes simpler, the startup performs better.[8]

It is advisable to understand some basic principles and methods of the work before starting the first technique. You should not be surprised that our purpose is a new, clear-sightedness or self-vision. Yes, the Self is already there, waiting for you to reveal it. You will not ‘build’ the Self and its dream, you must show it or rather encourage it to reveal itself. Spiritual development is certainly a struggle, but letting go is the main weapon in this fight. It is not necessary to focus, try hard, or push when trying to open. What would happen if you were to do that? You'd operate from your ordinary mind, meaning that fraction of yourself that you're thinking about right now–the discursive mind that continues to talk in your head all the time. You are trained to do everything from the brain from an early age. So if you're attempting to ‘run’ the business of interpretation, you're likely to remain trapped in your talking mind–a surface that's famously unfit for any form of spiritual experience. Avoid doing that. Be fully conscious, but be aware of it. Relax and allow what is hidden to come to the surface and be revealed to you in consciousness. Don't do anything, let things unfold. Dance to the rhythm. If you want something, you have to search for it in the physical world. But in the spiritual world, as on the other side of a mirror, everything is inverted. You have to let it come to you if you want it. It's a new skill that needs to be developed. It might be called "active letting go" or "creative letting go." It is the opportunity, to be honest, and through you to disclose states of consciousness. Just be aware, and it will all happen.

You Belong in Ravenclaw The house of the wise and the curious. Ravenclaws value wisdom, intellect, learning and creativity. They are always eager to acquire new knowledge and skills and to explore new ideas and possibilities. They are also original, eccentric and witty, but sometimes aloof and detached. Some famous Ravenclaws are Luna Lovegood, Cho Chang, Gilderoy Lockhart and Filius Flitwick. You are a total brainiac, and you feel like there is always more to learn. You are very curious about the world. To say you are a big reader is putting things mildly; you are addicted to books. You read everything you can get your hands on. You enjoy being around good friends, but you can spend tons of time alone too. Your ideas, thoughts, and theories occupy you. You are quite independent and open to new ways of thinking. You get frustrated with people who are closed-minded. The water signs of Cancer, Scorpio and Pisces are most suited for Ravenclaw, as they share the traits of wisdom, creativity, learning and curiosity. They are also intuitive, imaginative and sometimes aloof. Luna Lovegood is a Cancer, which explains her wisdom and eccentricity.

Timing Your Rewards Retail guru Rick Segel famously said, “The behavior that is rewarded is the behavior that is repeated.

I was fifty-eight years old when I finally felt like a “master choreographer.” The occasion was my 128th ballet, The Brahms-Haydn Variations, created for American Ballet Theatre. For the first time in my career I felt in control of all the components that go into making a dance—the music, the steps, the patterns, the deployment of people onstage, the clarity of purpose. Finally I had the skills to close the gap between what I could see in my mind and what I could actually get onto the stage. Why did it take 128 pieces before I felt this way? A better question would be, Why not? What’s wrong with getting better as you get more work under your belt? The libraries and archives and museums are packed with early bloomers and one-trick ponies who said everything they had to say in their first novel, who could only compose one good tune, whose canvases kept repeating the same dogged theme. My respect has always gone to those who are in it for the long haul. When people who have demonstrated talent fizzle out or disappear after early creative success, it’s not because their gifts, that famous “one percent inspiration,” abandoned them; more likely they abandoned their gift through a failure of perspiration.

Stem cell treatment in India is becoming very famous lately the reason is the treatment methodology, skilled doctors, treatment cost and facilitation provided to the patients and their caretakers. The success rate of stem cell treatments have overall success rate ranging from 70% to 80% (depends on specific disease and patient’s condition) in India.

Wonder Woman completely eschewed a damsel in distress role by instead being a superhero of unparalleled skill, and the inversion of the typical gender roles didn’t stop there. Like her superhero peers, Wonder Woman had her own damsel in distress, a fawning love interest who always got captured and had to be rescued. “Her” name was Steve Trevor.

Africa had free markets and a thriving entrepreneurial culture and tradition centuries before these became the animating ideas of the United States or Western Europe. Timbuktu, the legendary city in northern Mali, was a famous trading post and marketplace as far back as the twelfth century, as vital to the commerce of North and West Africa as ports on the Mediterranean were to Europe and the Levant. In Africa Unchained, George Ayittey offers myriad examples of industrial activity in precolonial Africa, from the indigo-dye cloth trade of fourteenth-century Kano, Nigeria, to the flourishing glass industry of precolonial Benin to the palm oil businesses of southern Nigeria to the Kente cotton trade of the Asante of Ghana in the 1800s: “Profit was never an alien concept to Africa. Throughout its history there have been numerous entrepreneurs. The aim of traders and numerous brokers or middlemen was profit and wealth.”2 The tragedy is what happened next. These skills and traditions were destroyed, damaged, eroded or forced underground, first during centuries of slave wars and colonialism and, later, through decades of corrupt postindependence rule, usually in service to foreign ideologies of socialism or communism. No postcolonial leader in Africa who fought for independence has ever adequately explained why liberation from colonial rule necessarily meant following the ideas and philosophies of Karl Marx, a gray-bearded nineteenth-century German academic who worked out of the British Library and never set foot in Africa. At the same time, neither should we have ever allowed ourselves to become beholden to paternalistic aid organizations that were sending their representatives to build our wells and plant our food for us. Nor, for that matter, should we have relied on the bureaucrats of the Western world telling us how to be proper capitalists or—as is happening now—to Party officials in Beijing telling us what they want in exchange for this or that project. It was this outside influence—starting with colonialism but later from our own terrible and corrupt policies and leaderships—that the stereotype of the lazy, helpless, unimaginative and dependent African developed. The point is that we Africans have to take charge of our own destiny, and to do this we can call on our own unique culture and traditions of innovation, free enterprise and free trade. We are a continent of entrepreneurs.

Ball in the Well As future rulers of the land, the princes of the ancient kingdom of Hastings were required to master various skills like archery and sword play. Their grandfather, Peter decided that they should have only the best teacher and so he was on the constant lookout for such a person. One day, the princes were playing in the garden with their ball, which unfortunately fell into the palace well.   The princes ran to the well and peered inside. All they could see was the bright red ball floating on top of the water far down in the well. The princes were disappointed because they could not continue with their game. Just then, they saw a young man dressed in black clothes passing by. From his dress, they knew immediately that was a sage, a wise and pious man with little concern for the cares of the world. They called out to him. “Sir, can you help us?” When he approached them, Durand, the eldest prince, told him how their ball had fallen into the well and they could not reach it. The man smiled. “You are princes of royal blood and you cannot solve such a simple problem?” he said. “Now watch me.” The princes looked on as the sage plucked a blade of grass, chanted some holy words and threw it into the well.   Amazingly, the blade of grass hit the surface of the ball and remained stuck on it. The sage took a second blade of grass and again after chanting some words, threw it into the well. The second blade of grass stuck to the first blade of grass. The man kept chanting and throwing blades of grass into the well. Each blade stuck to the earlier blade of grass and soon formed a chain leading to the very top of the well. The sage then used this to pull out the ball. The princes stared at him in astonishment.   Later, they told their grandfather what had happened. He then asked them to describe the man who he realised was none other than Sayer, a famous warrior who had given up fighting to become a sage. So their grandfather hastened to find him and never stopped until he persuaded Sayer to come and teach the princes how to shoot and to fight with a sword. Sayer faithfully taught the princes all kinds of warfare and military skills. As a result, the kingdom of Hastings became extremely powerful. In the process, Sayer became one of the most important and powerful men in the land. Moral of story: Once skills are learned they are not easily forgotten.

I saw another young man coming down the stairs from the third floor with my blanc de chine Goddess of Mercy, Guanyin, in his hand. [. . .] He swung the arm holding the Guanyin carelessly in the air and declared, 'This is a figure of Buddhist superstition. I'm going to throw it in the trash.' The Guanyin was a perfect specimen and a genuine product of the Dehua kiln in Fujian province. It was the work of the famous 17th century Ming sculptor Chen Wei and bore his seal on the back. The beauty of the creamy-white figure was beyond description. The serene expression of the face was so skillfully captured that it seemed to be alive. The folds of the robe flowed so naturally that one forgot it was cared out of hard biscuit. The glaze was so rich and creamy that the whole figure looked as if it were soft to the touch. [. . .] By this time, I no longer thought of them as my own possessions. I did not care to whom they belonged after tonight as long as they were saved from destruction.

Differential factor. When you strategically develop your value-based résumé, you will define the differential factor. The differential factor represents highly valuable skills, qualifications, and other employment assets that set you apart from other qualified candidates, that make you STAND OUT. Oftentimes, the differential factor is what tips the hiring scale in your favor! For instance, if you have an industry-wide reputation, your reputation might be the differential factor. If you are a black belt in Six Sigma, that may constitute the differential factor. A number of years ago, I coached a chief financial officer who worked for a legendary golf professional. Having worked for a famous golf professional was the differential factor because many hiring managers found it unique and intriguing to interview (and hire) someone who worked for a celebrity. Perhaps you are bilingual; this may represent the differential factor. When you identify the differential factor, you’ll provide your job campaign with a distinct advantage in landing a job quickly in the toughest of job markets.

Shit Can Happen" Bitch Yeah... [1] - Shit can happen [8X] [Kon Artis] Yo, yo, huh, yo, yo, yo That's right motherfuckers we back Same slanging, orangatangin, wilding out on hoodrats They say I act like I'm too famous to say hi And tell 'em what my name is but really I'm still nameless... You niggas don't get it yet do you Dealing out platinum or flop I still put it through you Wit a luger that'll spit fire And hit higher than a pitch by a bitch like Mariah You think for one second since we got a deal That we won't deal wit you in front of St Andrew's still? You gay rappers better learn that I won't stop until I see 'em turn back If you don't slow that roll you got You gonna see these Runyan Ave. niggas that really need some Prozac For' sure' that, ask the others But gator lay you down next to your mother's mother's grandmother [Kuniva] You know I'm feeling real rowdy tonight Ready to fight and half the niggas I give dap to I don't even like The same cat who never gave a damn about your name I gives a fuck about it like the next selling Clippers' game I kill you in ways you couldn't even fathom You and your madame, it's really unexplainable how I have 'em Who call theyself screaming about a challenge Nigga we got a gift while you barely making it off mere talent My skills are deeply embedded even your hoe said it She was knock kneed I fucked her now she's bow legged In the middle of rappin I drop the mic And have a stare down and jump in the crowd and start scrappin Kuniva and Kon Artis my nigga we get it cracking While the paramedics pick you up we on the side laughing [HOOK: 1- in background] [Kon Artis] Now this aint funny so don't you dare laugh Shit can happen in him and yo' ass You can be touched don't think you can't Cause niggas aint fucking around no more man [repeat] [Swifty McVay]

The famous Howard and Heidi experiment (referred to by Sheryl Sandberg in her 2013 book Lean In) shows that the higher men are rated on skills, the higher they are rated on likeability. The higher women are rated on skills, the lower they are rated on likeability. Neat, isn’t it?

While having a strong character foundation may not sell newspapers, increase TV ratings, or make a person famous, it's essential for building a life that is meaningful and matters.

Conversational Chameleon We know that chameleons are lizards who are famous for their ability to change their colors and fit in as their environments require. This ability enables them to change themselves for safety, survival, and healthy well-being. Their colors adjust to reflect their mood, their surroundings, and serve as camouflage when necessary. Fossils prove they have been on this planet for over eighty million years, so they must be doing something right. Their innate ability for adaptability deserves appreciation, respect, and further consideration. It obviously works!

In many respects, the skill set of an artist is similar to that of a programmer. Michelangelo was the archetypal renaissance man: a painter, sculptor, architect, poet, and engineer. Perhaps he would have made an incredible programmer. When asked about how he created one of his most famous works, the statue of David, he said: I looked into the stone and saw him there, and just chipped away everything else. Is that what you do? Do you reduce and remove the complexities of the problem space, chipping them all away until you reach the beautiful code you were aiming for?

Even when she was a girl, the kitchen was a source of pride and power. A separate vestibule off the main room, it cocooned her in glorious aromas. She had proven herself a skillful and painstaking chef, famous in the family for yaprach that tickled the tongue with notes of tomato, lemon and dried sumac. Shmuel and her half brothers teased that Miryam's date-sized yaprach were tiny, like her. Miryam didn't mind the ribbing; she rolled grape leaves at half their usual size precisely so that her family would recognize them as hers, rather than her stepmother's or her aunts'.

The tall tales for which Diego was famous, improvised effortlessly as a spider spins his web, their pattern changing with each retelling, were fables wrapped in fables, woven so skillfully out of truth and fantasy that one thread could not be distinguished from the other, told with such artistry that they compelled the momentary suspension of disbelief.

Bards sing songs and act girly. Thus, they’re kind of useless in a fight, but make good support characters. Kind of half wizard half healer with a bit of skills master and warrior thrown in. If you want to be a super famous rock star in the Middle Ages, but suck at fighting, play a Bard.

There are widely cited accounts of famous but unnamed Soviet boot and nail factories. The boot factories produced only size-7-left boots but never missed a production quota; the nail factories made a large number of small nails in response to numerical targets but switched skillfully to a small number of very large nails when targets were set by weight.

Aegean Islands 1940-41 Where white stares, smokes or breaks, Thread white, white of plaster and of foam, Where sea like a wall falls; Ribbed, lionish coast, The stony islands which blow into my mind More often than I imagine my grassy home; To sun one's bones beside the Explosive, crushed-blue, nostril-opening sea (The weaving sea, splintered with sails and foam, Familiar of famous and deserted harbours, Of coins with dolphins on and fallen pillars.) To know the gear and skill of sailing, The drenching race for home and the sail-white houses, Stories of Turks and smoky ikons, Cry of the bagpipe, treading Of the peasant dancers; The dark bread The island wine and the sweet dishes; All these were elements in a happiness More distant now than any date like '40, A. D. or B. C., ever can express.

Let us assume that the reader shared my opinion, that the market over the next week had a 70% probability of going up and 30% probability of going down. However, let us say that it would go up by 1% on average, while it could go down by an average of 10%. What would the reader do? Is the reader bullish or bearish? Table 6.2 Event                             Probability                             Outcome                             Expectation Market goes up                             70%                             Up 1%                             0.7 Market goes down                             30%                             Down 10%                             -3.00                                                                                                                                             Total                             -2.3 Accordingly, bullish or bearish are terms used by people who do not engage in practicing uncertainty, like the television commentators, or those who have no experience in handling risk. Alas, investors and businesses are not paid in probabilities; they are paid in dollars. Accordingly, it is not how likely an event is to happen that matters, it is how much is made when it happens that should be the consideration. How frequent the profit is irrelevant; it is the magnitude of the outcome that counts. It is a pure accounting fact that, aside from the commentators, very few people take home a check linked to how often they are right or wrong. What they get is a profit or loss. As to the commentators, their success is linked to how often they are right or wrong. This category includes the “chief strategists” of major investment banks the public can see on TV, who are nothing better than entertainers. They are famous, seem reasoned in their speech, plow you with numbers, but, functionally, they are there to entertain—for their predictions to have any validity they would need a statistical testing framework. Their frame is not the result of some elaborate test but rather the result of their presentation skills.

In fact, selling—rather than creating—inventions may have been Thomas Edison’s greatest talent. Many of the famous inventions from his laboratory were imagined and developed by his staff, not Edison. His assistant, Francis Jehl, lamented that Edison was a more skilled pitchman than inventor, that his “genius” was most reminiscent of master huckster and showman P. T. Barnum.

Probably no subject is too hard if people take the trouble to think and write and read clearly. Maybe, in fact, it’s time to redefine the “three R’s”—they should be reading, ’riting and reasoning. Together they add up to learning. It’s by writing about a subject we’re trying to learn that we reason our way to what it means. Reasoning is a lost skill of the children of the TV generation, with their famously short attention span. Writing can help them get it back.

Get Out Of Legal Trouble By Finding A Great Medical Malpractice Lawyer In Baltimore You will save on legal costs when you're taking the time to effectively ensure that your medical malpractice lawyer knows what you need. Your lawyer ought to be well versed on how to get the best outcome for your case. Take these factors into consideration the next time you are searching for the right attorney. Dependable attorneys are famous for having comprehensive, detailed interviews with their clients. The questions, though they might seem excessive, can help the medical malpractice lawyer in learning more about you before going into the courtroom, which will ultimately allow him to offer you the very best representation that they could. Whether it is from a book, online, or through questioning, any attorney worth his salt is usually out to learn more info. You have to find a new attorney immediately if the one you have is uninterested in your case and only asks a few pointless questions. Law firms and independent attorneys are like all other business - they can acquire clients through deception. Look for proof when an attorney claims his work is exceptional in order to validate it. Perform a comprehensive background check to understand their case history, their performance in college and the type of reputation that they've. Online reviews can also help you determine if the legal consultant delivered on his or her promises. There's nothing more important in the attorney-client relationship than good communication. A good, dependable medical malpractice lawyer can make sure that you have a clear understanding of any details they provide. The percentage of winning grows higher when your legal consultant understands and has all the info they need to win your case. Excellent interactions between you and your lawyer are vital to winning your case. When working with a legal consultant, be very specific about what type of attorney you want to hire. You'll need to find a legal consultant that specializes in the kind of law that governs your legal case. Find attorneys who have had success in similar cases. Call for a consultation in order to understand more about the attorney and what other skills or experience they possess in the field your legal case falls under. A medical malpractice lawyer who lacks moral character won't be up front about their ability to represent you. That attorney must be willing to inform you in the event that one is not able to handle your legal case in some way. Be really careful never to fall for attorneys who make false reports about past accomplishments. There are a few attorneys who'll need to work your legal case just to receive that new experience.

Tax delays are $62bn secret to Buffett’s success Berkshire Hathaway’s annual report highlights investor’s skill at deferring payments to put cash to work elsewhere STEPHEN FOLEY — NEW YORK | 935 words Warren Buffett is one of the most famous, and certainly the richest, proponents of raising taxes.

Hypnosis is the best technique that serves in Los Angeles by the famous practitioner Masha. Her skilled approach helps people to get rid of their bad addiction. Some people believe that during the hypnotherapy, you feel more relax and contemplate more to the suggestions given by the instructor like giving up smoking, drugs, alcohol and many unwanted addictions.

Another difference between amateur and professional writers, almost by definition, is that the latter more successfully engage their audience. It is partly a question of skill, but more often a matter of goals. Amateur writers tend to write primarily for self-expression, whereas writers able to become professional can hide or transform their own agendas enough so that they are of interest to others. Is this position the same as Freud's famous dictum that artists take unacceptable drives and present them in an acceptable way?

Umnandi would willingly have given up her beauty and stately mien and forgotten her skill in cookery, in return for the birth of a baby boy as a present for her husband and his people. She would gladly have gone through fire and water if the end of it was to nurse a royal child of her own. She took counsel with famous herbalists from Basutholand, Swaziland, Bechuanaland and Bapediland; she went through painful and disgusting ordeals on their advice, just for the hope of becoming a mother; but these wizards accomplished nothing beyond filling her heart with a succession of hopes, each of which in turn proved worthless. [80]

I realize this is quite a surprise, as a live performance wasn’t in the program tonight,” Alex said. “And if you know me, you know I’m not famous for my patronage of the arts—or my singing skills.” Soft laughter rippled through the crowd, along with a few knowing looks. Alex waited for the chuckles to die down before he continued, his gaze burning into mine. “Whether it’s music, photography, film, or painting, the arts reflect the world around us, and for too long, I only saw the dark side. The seedy underbellies, the ugly truths. Photographs reminded me of moments in time that never lasted. Songs reminded me that words have the power to rip one’s heart out. Why, then, would I care about art when it was so terrible and destructive?” It was a bold statement to make in front of London’s art world, but no one heckled. No one so much as breathed. Alex had us all under the spell of his words. “Then someone came into my life and upended everything I thought I knew. She was everything I wasn’t—purehearted, trusting, optimistic. She showed me the beauty that existed in this world, and through her, I learned the power of faith. Joy. Love. But I’m afraid I’ve tainted her with my untruths, and I’m hoping, with all my heart, that one day she’ll find her way out of the darkness and into the light again.

He saw El Lagartijo—“The Lizard”—one of the most famous bullfighters in Spain, and he met Cara Ancha, the celebrated Andalusian matador. When he was only nine years old, Pablo completed his first painting, Le Picador, a portrait of a man riding a horse in the bullring. Two years later, Pablo’s family moved to a new town, La Coruña, on Spain’s Atlantic coast. Don José got a job as an art teacher at the local college. Even though he was much younger than the other students, Pablo enrolled in his father’s class. He also took courses in figure drawing and landscape painting. By the time he turned thirteen, Pablo’s skill level had surpassed his father’s. Don José was so impressed that he handed his son his brushes and vowed never to paint again. When Pablo was fourteen years old, his family moved again, this time to Barcelona, where Pablo enrolled in the prestigious School of Fine Arts. His teachers quickly noticed his skills and allowed him to skip two grades. But just as in Málaga, Pablo had trouble adhering to the school’s rules. Before long he was back to his old tricks, cutting class so that he could wander the city streets, sketching interesting scenes that he observed along the way. Pablo repeated this behavior at his next school, the Royal Academy of San Fernando in Madrid. This time, Pablo’s father refused to tolerate his son’s antics and stopped his allowance. At age sixteen, Pablo found himself on his own for the first time, forced to support himself on nothing but his artistic ability. It has been said that the older Pablo grew, the more childlike his art became. During some periods he painted almost entirely in blue or depicted only circus performers.

Reasoning is a lost skill of the children of the TV generation, with their famously short attention span. Writing can help them get it back.

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