Strictly Dancing Quotes

Does poetry - or language or philosophy or music or architecture, even that of our temples - really need to dance to the same tune as our political beliefs or our religious convictions? Is the strict harmony of our cultural identities a virtue to be valued above others that may come from the accommodation of contradictions?

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

He found it increasingly difficult to accept the strict codes of the sect that clashed with ordinary values.

Archbishop. Why do I never read the lesson?” “I beg your pardon, ma’am?” “In church. Everybody else gets to read and one never does. It’s not laid down, is it? It’s not off-limits?” “Not that I’m aware, ma’am.” “Good. Well in that case I’m going to start. Leviticus, here I come. Goodnight.” The archbishop shook his head and went back to Strictly Come Dancing.

Royal Business; Strictly For The Young Gentleman Who Meets the Criteria- A Riddle To Solve: Where the Twelve Princesses of Eathesbury Dance At Night As Well As Limited Acquaintance With The Princess Royale Three Days' Stay In The Royal Palace Will Be Granted. The Food And Board Will Be Free. Inquiries To Be Sent To His Royal Highness Harold Wentworth The Eleventh of Eathesbury

(Note to anyone considering joining a class: there is no need to turn up in full Strictly Come Dancing salsa outfit including fake tan. Everyone just wears jeans. Briefly awkward.)

There was soot and orphans everywhere, and gaslit cobbled streets full of fog and sinister gentlemen out for a night of illicit murder. It was a strict and unforgiving society; looking at a piano, eating too much butter, dancing with elan--the sour-faced Queen Victoria forbade all these things. And, it was also raining in the London of themdays--dirty grey slabs of rain that left everywhere shining and slippery.

Anna’s parents were staunch Wee Frees, and she wasn’t even allowed to wear face powder, never mind attend a dance. Music itself was not allowed, except on Sundays, and then it had to be for the sake of worship only, and sung unadorned. The senior McKenzies were so strict they confined their cockerel under a bushel basket on the Sabbath so he wouldn’t get up to anything untoward with the hens.

Her partner now drew near, and said, "That gentleman would have put me out of patience, had he stayed with you half a minute longer. He has no business to withdraw the attention of my partner from me. We have entered into a contract of mutual agreeableness for the space of an evening, and all our agreeableness belongs solely to each other for that time. Nobody can fasten themselves on the notice of one, without injuring the rights of the other. I consider a country-dance as an emblem of marriage. Fidelity and complaisance are the principal duties of both; and those men who do not choose to dance or marry themselves, have no business with the partners or wives of their neighbours." But they are such very different things!" -- That you think they cannot be compared together." To be sure not. People that marry can never part, but must go and keep house together. People that dance only stand opposite each other in a long room for half an hour." And such is your definition of matrimony and dancing. Taken in that light certainly, their resemblance is not striking; but I think I could place them in such a view. You will allow, that in both, man has the advantage of choice, woman only the power of refusal; that in both, it is an engagement between man and woman, formed for the advantage of each; and that when once entered into, they belong exclusively to each other till the moment of its dissolution; that it is their duty, each to endeavour to give the other no cause for wishing that he or she had bestowed themselves elsewhere, and their best interest to keep their own imaginations from wandering towards the perfections of their neighbours, or fancying that they should have been better off with anyone else. You will allow all this?" Yes, to be sure, as you state it, all this sounds very well; but still they are so very different. I cannot look upon them at all in the same light, nor think the same duties belong to them." In one respect, there certainly is a difference. In marriage, the man is supposed to provide for the support of the woman, the woman to make the home agreeable to the man; he is to purvey, and she is to smile. But in dancing, their duties are exactly changed; the agreeableness, the compliance are expected from him, while she furnishes the fan and the lavender water. That, I suppose, was the difference of duties which struck you, as rendering the conditions incapable of comparison." No, indeed, I never thought of that." Then I am quite at a loss. One thing, however, I must observe. This disposition on your side is rather alarming. You totally disallow any similarity in the obligations; and may I not thence infer that your notions of the duties of the dancing state are not so strict as your partner might wish? Have I not reason to fear that if the gentleman who spoke to you just now were to return, or if any other gentleman were to address you, there would be nothing to restrain you from conversing with him as long as you chose?" Mr. Thorpe is such a very particular friend of my brother's, that if he talks to me, I must talk to him again; but there are hardly three young men in the room besides him that I have any acquaintance with." And is that to be my only security? Alas, alas!" Nay, I am sure you cannot have a better; for if I do not know anybody, it is impossible for me to talk to them; and, besides, I do not want to talk to anybody." Now you have given me a security worth having; and I shall proceed with courage.

Religion, with its metaphysical error of absolute guilt, dominated the broadest, the cosmic realm. From there, it infiltrated the subordinate realms of biological, social and moral existence with its errors of the absolute and inherited guilt. Humanity, split up into millions of factions, groups, nations and states, lacerated itself with mutual accusations. "The Greeks are to blame," the Romans said, and "The Romans are to blame," the Greeks said. So they warred against one another. "The ancient Jewish priests are to blame," the early Christians shouted. "The Christians have preached the wrong Messiah," the Jews shouted and crucified the harmless Jesus. "The Muslims and Turks and Huns are guilty," the crusaders screamed. "The witches and heretics are to blame," the later Christians howled for centuries, murdering, hanging, torturing and burning heretics. It remains to investigate the sources from which the Jesus legend derives its grandeur, emotional power and perseverance. Let us continue to stay outside this St. Vitus dance. The longer we look around, the crazier it seems. Hundreds of minor patriarchs, self-proclaimed kings and princes, accused one another of this or that sin and made war, scorched the land, brought famine and epidemics to the populations. Later, this became known as "history." And the historians did not doubt the rationality of this history. Gradually the common people appeared on the scene. "The Queen is to blame," the people's representatives shouted, and beheaded the Queen. Howling, the populace danced around the guillotine. From the ranks of the people arose Napoleon. "The Austrians, the Prussians, the Russians are to blame," it was now said. "Napoleon is to blame," came the reply. "The machines are to blame!" the weavers screamed, and "The lumpenproletariat is to blame," sounded back. "The Monarchy is to blame, long live the Constitution!" the burgers shouted. "The middle classes and the Constitution are to blame; wipe them out; long live the Dictatorship of the Proletariat," the proletarian dictators shout, and "The Russians are to blame," is hurled back. "Germany is to blame," the Japanese and the Italians shouted in 1915. "England is to blame," the fathers of the proletarians shouted in 1939. And "Germany is to blame," the self-same fathers shouted in 1942. "Italy, Germany and Japan are to blame," it was said in 1940. It is only by keeping strictly outside this inferno that one can be amazed that the human animal continues to shriek "Guilty!" without doubting its own sanity, without even once asking about the origin of this guilt. Such mass psychoses have an origin and a function. Only human beings who are forced to hide something catastrophic are capable of erring so consistently and punishing so relentlessly any attempt at clarifying such errors.

Do you dance? Or are you strictly a prop-up-the-wall-with-a-beer kind of guy?" "I dance. But I don't shag." She laughed. "I think we've just established that you do". "Not Austin Powers shagging. It's A Carolina thing. A dance.

Throughout my life as I’ve sought to become a published writer of speculative fiction, my strongest detractors and discouragers have been other African Americans. These were people who had, like generations before them, bought into the mythology of racism: black people don’t read. Black people can’t write. Black people have no talents other than singing and dancing and sports and crime. No one wants to read about black people, so don’t write about them. No one wants to write about black people, which is why you never see a black protagonist. Even if you self-publish, black people won’t support you. And if you aim for traditional publication, no one who matters — that is, white people — will buy your work. (A corollary of all this: there is only black and white. Nothing else matters.) Having swallowed these ideas, people regurgitated them at me at nearly every turn. And for a time, I swallowed them, too. As a black woman, I believed I wasn’t supposed to be a writer. Simultaneously I believed I was supposed to write about black people — and only black people. And only within a strictly limited set of topics deemed relevant to black people, because only black people would ever read anything I’d written. Took me years after I started writing to create a protagonist who looked like me. And then once I started doing so, it took me years to write a protagonist who was something different.

Whilst ladies persist in maintaining the strictly defensive condition, men must naturally, as it were, take the oppposite line, that of attack; otherwise, if both parties held aloof, there would be no more marriages; and the two hosts would die in their respective inaction, without ever coming to a battle. Thus it is evident that as the ladies will not, the men must take the offensive... Is it not time that the ladies should take an innings? Let us widowers and bachelors form an association to declare that for the next hundred years we will make love no longer. Let the young women come and make love to us; let them write us verses; let them ask us to dance, get us ices and cups of tea, and help us on with our cloaks at the hall-door; and if they are eligible, we may perhaps be induced to yield and say, 'La, Miss Hopkins - I really never - I am so agitated - Ask papa!

Do you see yon woods? Do you see yon trees? W shall cut them down and build new houses and live as our fathers did. We will dance when our laws command us to dance, we will feast when our hearts command us to feast. Do we ask the white man "Do as the Indian does"? No, we do not. Why then do you ask us "Do as the white man does"? It is a strict law that bids us dance. It is a strict law that bids us distribute our property among our friends and neighbors. It is a good law. Let the white man observe his law, we shall observe ours. And now if you are come to forbid us, begone, if not, you will be welcome to us. - Kwakiutl chief

in the pre-modern world, when people wrote about the past they were more concerned with what an event had meant. A myth was an event which, in some sense, had happened once, but which also happened all the time. Because of our strictly chronological view of history, we have no word for such an occurrence, but mythology is an art form that points beyond history to what is timeless in human existence, helping us to get beyond the chaotic flux of random events, and glimpse the core of reality. An experience of transcendence has always been part of the human experience. We seek out moments of ecstasy, when we feel deeply touched within and lifted momentarily beyond ourselves. At such times, it seems that we are living more intensely than usual, firing on all cylinders, and inhabiting the whole of our humanity. Religion has been one of the most traditional ways of attaining ecstasy, but if people no longer find it in temples, synagogues, churches or mosques, they look for it elsewhere: in art, music, poetry, rock, dance, drugs, sex or sport. Like poetry and music, mythology should awaken us to rapture, even in the face of death and the despair we may feel at the prospect of annihilation. If a myth ceases to do that, it has died and outlived its usefulness.

There are no strict formulas, however, for how much time people actually have to work. It seems, for instance, that the early hunter-gatherers, like their present-day descendants living in the inhospitable deserts of Africa and Australia, spent only three to five hours each day on what we would call working—providing for food, shelter, clothing, and tools. They spent the rest of the day in conversation, resting, or dancing.

Oh God, no. Piper.” He ducked his head to make eye contact, his dark brows pulled together. “First of all, you don’t have to be tough. Not all the time. I don’t know who decided my perfect, kind, sweet, incredible girlfriend needed to fit some goddamn mold, but you don’t. You just be Piper, okay? She’s who I’m in love with. She’s the only woman who was made for me. Cry if you want to cry. Dance if you want to dance. Hell, scream at me, if you need to. No one gets to tell you how to act or feel when I leave. No one. And, baby …” He puffed a laugh. “When I got to the bar, it was packed. Everyone loves it. People just move at a different pace in Westport. They’re not all on a strict schedule like me.

Maybe the affecting aspect was that Madame Ko's tanukis sparked in an onlooker's muscles a kinetic memory of the innocent freedom of early childhood, when one could let one's body go all akimbo on the slightest whim, could bounce, flop, and skip about in pure corporeal joy without embarrassment, judgement, or restraint. Or maybe there was a more "mature" associations, memories, say, of being falling-down drunk at the company picnic-but now crazy little animals were serving as surrogates, allowing one to vicariously relive those deliciously liberating and rebellious moment while maintaining one's veneer of civilized respectability, protecting in the process, one's marriage, one's standing in the community, one's job. Or maybe, on a strictly subconscious level, circusgoers recognized in the antics of the tanukis-antics that appeared goofy and bumbling yet, at the same time, brave and successful-an analogy to their own blindly hopeful gyrations in a complex, impermanent universe where every happy dance was danced in the lengthening shadow of death. And maybe they were inspired, if only for a night, to emulate the tanuki capacity for self-enjoyment, a gift that ought to be the birthright of every Homo sapiens. or maybe not. Maybe all those interpretations are just so much god-fodder (The God-Fodder, The God-Fodder II), the very sort of bullshit responsible, some say, for keeping alive a modicum of divine interest in our discredited race.

We immoral ones!— This world which we're concerned with, in which we have to fear and love, this almost invisible and inaudible world of sophisticated commanding, sophisticated obeying, a world of “almost” from every way of looking at it —entangled, embarrassing, cutting, and tender— yes, this world is well defended against clumsy spectators and familiar curiosity! We have been woven into a strict yarn and shirt of duties and cannot get out of it — in that respect we are simply “men of duty,” we as well! Now and then, it's true, we dance happily in our “chains” and between our “swords.” More often, it's no less true, we gnash our teeth about it and are impatient with all the secret hardness of our fate. But we can do what we like: the fools and appearance speak against us: “They are men without duty.” —We always have fools and appearance against us!

Outside the window is a roofed wooden tray he fills with seeds for the birds. They make a sort of dance as they descend and light and fly off at a slant across the strictly divided black sash. At first they came fearfully, worried by the man's movements inside the room. They watched his eyes, and flew when he looked. Now they expect no harm from him and forget he's there. They come into his vision, unafraid. He keeps a certain distance and quietness in tribute to them. That they ignore him he takes in tribute to himself. But they stay cautious of each other, half afraid, unwilling to be too close. They snatch what they can carry and fly into the trees. They flirt out with tail or beak and waste more sometimes than they eat. And the man, knowing the price of seed, wishes they would take more care. But they understand only what is free, and he can give only as they will take. Thus they have enlightened him. He buys the seed, to make it free.

He was not her sole companion. She had her demons, too. You can't run from them, as Lexi discovered. Changing cities doesn't help either; you carry them along inside you. You just wake up one day, fed up, and decide to snuggle with them instead. You invite them along as you go about your day, balancing them on your shoulder as you would a toddler, but with very strict conditions: You will not set fire to my hair. You will not take candy from strangers. You will not tie me up in chains while I sleep. You will behave. And Lexi's demons, allowed to come close, sat on her shoulder. They waved to the angels perched on her other shoulder and struck up a conversation with Lexi. 'What's that noise?' her demons asked, sidling close to her ear. 'Oh, that?' Lexi massaged her temples. 'It's the air whistling through the hole in my heart.' 'You're afraid,' they taunted. 'I am,' she admitted. 'Afraid of the sky falling. Afraid of the tight-rope snapping. Afraid I can't dance well enough on the edge. Afraid there are no hands to steady my body. Afraid of hands that wish to cage my heart.' 'Coward,' the demons goaded.

The philosopher John Locke once described the case of a man who had learned to dance by practicing according to a strict ritual, always in the same room, which contained an old trunk. Unfortunately, wrote Locke, “the idea of this remarkable piece of household stuff had so mixed itself with the turns and steps of all his dances, that though in that chamber he could dance excellently well, yet it was only when that trunk was there; he could not perform well in any other place unless that or some other trunk had its due position in the room.” This research says, take the trunk out of the room. Since we cannot predict the context in which we’ll have to perform, we’re better off varying the circumstances in which we prepare. We need to handle life’s pop quizzes, its spontaneous pickup games and jam sessions, and the traditional advice to establish a strict practice routine is no way to do so. On the contrary: Try another room altogether. Another time of day. Take the guitar outside, into the park, into the woods. Change cafés. Switch practice courts. Put on blues instead of classical. Each alteration of the routine further enriches the skills being rehearsed, making them sharper and more accessible for a longer period of time. This kind of experimenting itself reinforces learning, and makes what you know increasingly independent of your surroundings.

The historian Michael Walzer has argued that modern revolution was a task for the kind of ascetic, single-minded, self-denying personality that Calvinism sought to inculcate, and certainly some of the successful revolutionaries of the West would seem to fill the bill. As we have seen, the English revolutionary leader Oliver Cromwell, a Calvinist himself, railed perpetually against the festive inclinations of his troops. The Jacobin leader Robespierre despised disorderly gatherings, including “any group in which there is a tumult”—a hard thing to avoid during the French Revolution, one might think.73 His fellow revolutionary Louis de Saint-Just described the ideal “revolutionary man” in terms that would have been acceptable to any Puritan: “inflexible, but sensible; he is frugal; he is simple … honorable, he is sober, but not mawkish.”74 Lenin inveighed against “slovenliness … carelessness, untidiness, unpunctuality” as well as “dissoluteness in sexual life,”75 seeing himself as a “manager” and “controller” as well as a leader.76 For men like Robespierre and Lenin, the central revolutionary rite was the meeting—experienced in a sitting position, requiring no form of participation other than an occasional speech, and conducted according to strict rules of procedure. Dancing, singing, trances—these could only be distractions from the weighty business at hand.

Comus. The Star that bids the Shepherd fold, Now the top of Heav'n doth hold, And the gilded Car of Day, [ 95 ] His glowing Axle doth allay In the steep Atlantick stream, And the slope Sun his upward beam Shoots against the dusky Pole, Pacing toward the other gole [ 100 ] Of his Chamber in the East. Mean while welcom Joy, and Feast, Midnight shout, and revelry, Tipsie dance and Jollity. Braid your Locks with rosie Twine [ 105 ] Dropping odours, dropping Wine. Rigor now is gone to bed, And Advice with scrupulous head, Strict Age, and sowre Severity, With their grave Saws in slumber ly. [ 110 ] We that are of purer fire Imitate the Starry Quire, Who in their nightly watchfull Sphears, Lead in swift round the Months and Years. The Sounds, and Seas with all their finny drove [ 115 ] Now to the Moon in wavering Morrice move, And on the Tawny Sands and Shelves, Trip the pert Fairies and the dapper Elves; By dimpled Brook, and Fountain brim, The Wood-Nymphs deckt with Daisies trim, [ 120 ] Their merry wakes and pastimes keep: What hath night to do with sleep? Night hath better sweets to prove, Venus now wakes, and wak'ns Love. Com let us our rights begin, [ 125 ] Tis onely day-light that makes Sin, Which these dun shades will ne're report. Hail Goddesse of Nocturnal sport Dark vaild Cotytto, t' whom the secret flame Of mid-night Torches burns; mysterious Dame [ 130 ] That ne're art call'd, but when the Dragon woom Of Stygian darknes spets her thickest gloom, And makes one blot of all the ayr, Stay thy cloudy Ebon chair, Wherin thou rid'st with Hecat', and befriend [ 135 ] Us thy vow'd Priests, till utmost end Of all thy dues be done, and none left out, Ere the blabbing Eastern scout, The nice Morn on th' Indian steep From her cabin'd loop hole peep, [ 140 ] And to the tel-tale Sun discry Our conceal'd Solemnity. Com, knit hands, and beat the ground, In a light fantastick round.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

She was going to hit it with everything she could. Yoga. Meditation. Walking. And she’d read about a process of pinpointing and then eliminating triggers from her diet. Some patients were seeing good results from changing their eating habits drastically to include only fresh meats, fruits, and vegetables. Now that she’d be cooking for one, it might be possible to really be strict. Yes, she had a whole new life in front of her now that she’d decided to focus on herself.

Strictly Come Dancing

Good morning to Karen’s fertile and barren friends. I thought I’d send over the plan for the completely unnecessary, mawkish, and expensive non-tradition borrowed from America that is our friend Karen’s baby shower. Karen thinks it’s always good to demand money and time from people to celebrate her own personal life choices and we felt you haven’t given her quite enough in recent history, what, with the $1500 pound hen do in Ibiza, wedding in Majorca with a strict dress code, and gift registry at Selfridges. (NB: ladies-- if you get a new job or buy or flat on your own, you get a card and that’s it! We want to make sure there’s no prprecedent set. We’re not made of money!!) The good news is, after Karen gives birth she won’t see any of her childless friends unless all they want to do is talk about her baby and nothing else. So you can treat this as her farewell party as well as her baby shower. And save those pennies for a couple of years, that is of course until she comes back to you when she’s stopped breast feeding and is bored out of her mind, demands you all go out to drink, dance, and take loads of drugs, then sends you an offish text the following week saying she can’t really have a night out like that again because “I’M A MOTHER NOW.

As it happens, Ibrahim also strongly disagrees with the Strictly Come Dancing scoring system, believing it gives too much weight to the public vote compared with the judges’ scores.

We’re often preoccupied with the developments of our lives that we forget to make time for our significant other. Granted, those bills will not pay themselves. But there has to be a limit. You may be out there hell-bent on chasing the dollar to give your family a better life, but by the time you get your money together, you have no family to speak of.  Make it a priority to bond with your partner. Set aside time and observe it as strictly as you observe your work schedule. Spend quality time without your phones or any other distractions. Get to know how each other is doing beyond the surface. You may be assuming that your partner is fine just because he/she is going on with life as normal, but that could be far from it. Discuss deeper matters; mental health, job satisfaction, inner battles, goals, dreams and so on. Go for the holidays. Go for dates. Visit places that are significant to your relationship. Go clubbing and dancing, just as you did when you were younger. That will add a breath of fresh air to your relationship.

What is Something? Something should be the opposite of nothing. But is this strictly true? If something is the opposite of nothing, then something is the thing of absolute density. Then again, what is absolute density? Is absolute density possible? Absolute Being would be the Being of absolute density. Something with absolute density would lose any dimension and would be non-dimensional. Something with absolute density would have to expel space from itself. Something with absolute density would have to be one because there can be no absolute density if there is any polarity or plurality. Everything must be One squeezed to itself in the primordial singularity. This singularity is 0 nothing. Big Bang comes out of the Zero point of the Absolute. At the point of their absoluteness, something and nothing become the same. Something with absolute density is equal to nothing without any density. The only way for something to become alive is in the dance with the Nothing. The dance of the Something and the Nothing is the Source of life and the ultimate Source of the Universe. The material world cannot be infinite. That is a contradictio in adjecto. Nothingness cannot be wholly full on the macro or micro level. Material something must have an end at some point, on the macro or micro level.

Anyway, I wanted to tell you this story, since it just rolled into my gourd while I was into that 1950 Lighthouse shot. I never told you about the Legend of the Gigantic Fart, did I?” “Put the beer in a paper bag. Let’s get it on the road.” “No, man, this story became a legend and is still told in the high schools around the county. You see, it was at the junior prom, a very big deal with hoop dresses and everybody drinking sloe gin and R.C. Cola outside in the cars. Now, this is strictly a class occasion if you live in a shitkicker town. Anyway, we’d been slopping down the beer all afternoon and eating pinto-bean salad and these greasy fried fish before we got to the dance. So it was the third number, and I took Betty Hoggenback out on the floor and was doing wonderful, tilting her back like Fred Astaire doing Ginger Rogers. Then I felt this wet fart start to grow inside me. It was like a brown rat trying to get outside. I tried to leak it off one shot at a time and keep dancing away from it, but I must have left a cloud behind that would take the varnish off the gym floor. Then one guy says, ‘Man, I don’t believe it!’ People were walking off the floor, holding their noses and saying, ‘Pew, who cut it?’ Then the saxophone player on the bandstand threw up into the piano. Later, guys were shaking my hand and buying me drinks, and a guy on the varsity came up and said that was the greatest fart he’d ever seen. It destroyed the whole prom. The saxophone player had urp all over his summer tux, and they must have had to burn the smell out of that piano with a blowtorch.” Buddy was laughing so hard at his own story that tears ran down his cheeks. He caught his breath, drank out of the beer glass, then started laughing again. The woman behind the bar was looking at him as though a lunatic had just walked into the normalcy of her life.

Your wife?” “Right.” “What does she do?” Tracy asked. “She works for a janitorial company; they clean the buildings downtown.” “She works nights?” Kins said. “Yeah.” “Do you have kids?” Tracy asked. “A daughter.” “Who watches your daughter when you and your wife are working nights?” “My mother-in-law.” “Does she stay at your house?” Tracy said. “No, my wife drops her off on her way to work.” “So nobody was at home when you got there Sunday night?” Bankston shook his head. “No.” He sat up again. “Can I ask a question?” “Sure.” “Why are you asking me these questions?” “That’s fair,” Kins said, looking to Tracy before answering. “One of our labs found your DNA on a piece of rope left at a crime scene.” “My DNA?” “It came up in the computer database because of your military service. The computer generated it, so we have to follow up and try to get to the bottom of it.” “Any thoughts on that?” Tracy said. Bankston squinted. “I guess I could have touched it when I wasn’t wearing my gloves.” Tracy looked to Kins, and they both nodded as if to say, “That’s plausible,” which was for Bankston’s benefit. Her instincts were telling her otherwise. She said, “We were hoping there’s a way we could determine where that rope was delivered, to which Home Depot.” “I wouldn’t know that,” Bankston said. “Do they keep records of where things are shipped? I mean, is there a way we could match a piece of rope to a particular shipment from this warehouse?” “I don’t know. I wouldn’t know how to do that. That’s computer stuff, and I’m strictly the labor, you know?” “What did you do in the Army?” Kins asked. “Advance detail.” “What does advance detail do?” “We set up the bases.” “What did that entail?” “Pouring concrete and putting up the tilt-up buildings and tents.” “So no combat?” Kins asked. “No.” “Are those tents like those big circus tents?” Tracy asked. “Sort of like that.” “They still hold them up with stakes and rope?” “Still do.” “That part of your job?” “Yeah, sure.” “Okay, listen, David,” Tracy said. “I know you were in the police academy.” “You do?” “It came up on our computer system. So I’m guessing you know that our job is to eliminate suspects just as much as it is to find them.” “Sure.” “And we got your DNA on a piece of rope found at a crime scene.” “Right.” “So I have to ask if you would you be willing to come in and help us clear you.” “Now?” “No. When you get off work; when it’s convenient.” Bankston gave it some thought. “I suppose I could come in after work. I get off around four. I’d have to call my wife.” “Four o’clock works,” Tracy said. She was still trying to figure Bankston out. He seemed nervous, which wasn’t unexpected when two homicide detectives came to your place of work to ask you questions, but he also seemed to almost be enjoying the interaction, an indication that he might still be a cop wannabe, someone who listened to police and fire scanners and got off on cop shows. But it was more than his demeanor giving her pause. There was the fact that Bankston had handled the rope, that his time card showed he’d had the opportunity to have killed at least Schreiber and Watson, and that he had no alibi for those nights, not with his wife working and his daughter with his mother-in-law. Tracy would have Faz and Del take Bankston’s photo to the Dancing Bare and the Pink Palace, to see if anyone recognized him. She’d also run his name through the Department of Licensing to determine what type of car he drove. “What would I have to do . . . to clear me?” “We’d like you to take a lie detector test. They’d ask you questions like the ones we just asked you—where you work, details about your job, those sorts of things.” “Would you be the one administering the test?” “No,” Tracy said. “We’d have someone trained to do that give you the test, but both Detective Rowe and I would be there to help get you set up.” “Okay,” Bankston said. “But like I said, I have

travelling to dance schools to perform in their

but I love the long columns of numbers, the need to proceed logically and patiently as the numbers lead you to the final and inevitable answer. It reminds me of dancing. The way my shoulders, the tilt of my arms, and angle of my knees must stay within precise formations, yet also lead where I take them. A sort of freedom that can be attained only within strict rules.

As the evening progressed the band began to play. Couples were filing onto the dance floor, arm in arm. Males and females mixed openly, as this was a private function at a private mansion; strict Islamic regulations were thrown to the wind. Liquor flowed freely.

LEGALISM Legalism is the opposite heresy of antinomianism. Whereas antinomianism denies the significance of law, legalism exalts law above grace. The legalists of Jesus’ day were the Pharisees, and Jesus reserved His strongest criticism for them. The fundamental distortion of legalism is the belief that one can earn one’s way into the kingdom of heaven. The Pharisees believed that due to their status as children of Abraham, and to their scrupulous adherence to the law, they were the children of God. At the core, this was a denial of the gospel. A corollary article of legalism is the adherence to the letter of the law to the exclusion of the spirit of the law. In order for the Pharisees to believe that they could keep the law, they first had to reduce it to its most narrow and wooden interpretation. The story of the rich young ruler illustrates this point. The rich young ruler asked Jesus how he could inherit eternal life. Jesus told him to “keep the commandments.” The young man believed that he had kept them all. But Jesus decisively revealed the one “god” that he served before the true God—riches. “Go, sell what you possess and give to the poor, and you will have treasure in heaven” (Matthew 19:21). The rich young ruler went on his way saddened. The Pharisees were guilty of another form of legalism. They added their own laws to the law of God. Their “traditions” were raised to a status equal to the law of God. They robbed people of their liberty and put chains on them where God had left them free. That kind of legalism did not end with the Pharisees. It has also plagued the church in every generation. Legalism often arises as an overreaction against antinomianism. To make sure we do not allow ourselves or others to slip into the moral laxity of antinomianism, we tend to make rules more strict than God Himself does. When this occurs, legalism introduces a tyranny over the people of God. Likewise, forms of antinomianism often arise as an overreaction to legalism. Its rallying cry is usually one of freedom from all oppression. It is the quest for moral liberty run amok. Christians, in guarding their liberty, must be careful not to confuse liberty with libertinism. Another form of legalism is majoring on the minors. Jesus rebuked the Pharisees for omitting the weightier matters of the law while they were scrupulous in obeying minor points (Matthew 23:23-24). This tendency remains a constant threat to the church. We have a tendency to exalt to the supreme level of godliness whatever virtues we possess and downplay our vices as insignificant points. For example, I may view refraining from dancing as a great spiritual strength while considering my covetousness a minor matter. The only antidote to either legalism or antinomianism is a serious study of the Word of God. Only then will we be properly instructed in what is pleasing and displeasing to God.

anything at all on the kid we found out on the dock Sunday?” “Not much. I asked down at the youth center, and a couple guys admitted to knowing him. He hung out at the Dragon’s Den a lot. My take is that he was bringing in ecstasy and selling it to the kids during the weekend dances.” “I thought the Dragon’s Den was a no-drug/no-alcohol zone.” Callen wasn’t a big fan of places like that. They had to be well supervised with strict rules in order to work. Even then, kids seemed

Man, there’s nothing to eat here,” said Sean, distracting me from Eilish as he rifled through my kitchen. “Good God, man. Are those dried prunes? You really are on old codger, Leech. I bet you write in letters of complaint to the BBC about the inappropriate amount of leg shown on Strictly Come Dancing.

There have been Fulani empires even though the people are mostly nomadic herders who have always seen the region as an entity in which they roam and not divided into nation states requiring pieces of paper to move from one place to another. That they once ruled the area is a fact deeply embedded in their collective memory; the Macina Empire (1818–62) is considered a golden age. The empire was centred on parts of what is now Mali and stretched hundreds of kilometres east and west. Its capital was Hamdullahi (from the Arabic ‘Praise to God’), which speaks of the strict Sunni Islam religious beliefs of the Fulani whose leaders banned dancing, music, smoking and alcohol. The Fulani were among the first Africans to embrace Islam. Hamdullahi alone garrisoned over 10,000 soldiers, with thousands more in regional outposts such as Timbuktu.

The evangelical missionaries saw their Christianity as part and parcel of their own European cultural values – even to the extent of insisting that African converts adopt European clothing. They preached a strict puritanical moral code. They opposed dancing, drinking, nonreligious singing and any form of sexual freedom outside monogamous marriage. Applied to Africa, this meant condemnation of much of the essential fabric of African society.

It’s a sad paradox that while they adhere so strongly to the fashion in clothes, they have largely departed from the spirit of the movement. Chassidism was originally a kind of romantic mysticism, a movement of joy and laughter, of singing and dancing, that involved a kind of direct confrontation with God. It was a useful and necessary reaction to the meticulous observance of religious regulations that was characteristic of the time. But now it has come full circle, and this group is the most pedantic in its strict adherence to the letter of the law.

Only emotion differs in nature from both intelligence and instinct, from both intelligent individual egoism and quasi-instinctive social pressure. Obviously no one denies that egoism produces emotions; and even more so social pressure, with all the fantasies of the story-telling function. But in both these cases, emotion is always connected to a representation on which it is supposed to depend. We are then placed in a composite of emotion and of representation, without noticing that it is potential, the nature of emotion as pure element. The latter in fact precedes all representation, itself generating new ideas. It does not have, strictly speaking, an object, but merely an essence that spreads itself over various objects, animals, plants and the whole of nature. "Imagine a piece of music which expresses love. It is not love for a particular person.... The quality of love will depend upon its essence and not upon its object." Although personal, it is not individual; transcendent, it is like the God in us. "When music cries, it is humanity, it is the whole of nature which cries with it. Truly speaking, it does not introduce these feelings in us; it introduces us rather into them, like the passers-by that might be nudged in a dance". In short, emotion is creative (first because it expresses the whole of creation, then because it creates the work in which it is expressed; and finally, because it communicates a little of this creativity to spectators or hearers).

I have a fleeting vision of me in a dinner jacket and him in his negligee, foxtrotting arm in arm around the ballroom, like on Strictly Come Dancing but without Bruno’s suggestive comments. I don’t actually own a dinner jacket but I reckon Lucien’s got a few more of those slinky negligees tucked away

I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn’t have a strict religion—they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn’t exist. The “religion” is so integrated into the culture that it appears in daily gesture and routines, unsegregated from ordinary life. I was beginning to see that theatricality wasn’t necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

With the Allies on the advance nearly everywhere and invasion talk in the air, London was a welcoming place for young airmen who were taking the fight to Hitler’s doorstep. The first stop for American airmen was usually the nearest Red Cross Club, where helpful volunteers made bookings free of charge at commercial hotels or at one of the Red Cross’s own dormitory-like facilities. After checking in and dropping off their kits, most men headed straight for Rainbow Corner. Located on the corner of Shaftesbury Avenue and Piccadilly Circus, it was a place as close to home as a GI could find in all of England. Administered by the American Red Cross, Rainbow Corner had been designed “to create a strictly American atmosphere.” There was an exact replica of a small-town corner drugstore in the club’s basement, where ice-cold Cokes were sold for a nickel and grilled hamburgers for a dime. Upstairs, in the grand ballroom, servicemen danced with volunteer hostesses to the driving music of soldier bands—the Flying Forts, the Thunderbolts, the Sky Blazers. There was also a lounge with a jukebox and a small dance floor with tables and chairs around it. Lonely GIs dunking donuts in fresh coffee would loaf there, listening to the latest American hits. Rainbow Corner never closed its doors. The key had been symbolically thrown away the day of the grand opening in November 1942.

Success’ now is in the minutiae of the way I spend my days. It’s committing to doing things that help myself and others. It’s showing up. It’s taking care of myself. It’s paying the bills without losing my mind. Or having a long walk. Or calling a friend. Or having a new adventure. Or meeting my deadline. Or being brave. Or saying no. Or having a lie down. I don’t need someone from Strictly Come Dancing to do my make-up to make me feel valid. I just need to be me. When we unpick the myths, we open ourselves up to a new-found sense of freedom and get to design our lives from scratch.

When the news first broke about this sorry excuse for a human being and his sexual involvement with girls under sixteen - no surprise to me, nor anyone else who spent much time at the BBC Television Centre in the 70s and 80s - my first thought was that the BBC had only to repeat all the shows in which under-age girls appeared with him on Jim’ll Fix It and re-title them Jim’ll Fuck It and they would have a hit of Strictly Come Dancing proportions on their hands.

The matter might be summed up as follows: creativity calls for a disorderly and passionate element that is capable of breathing life into the imaginative process, yet it also demands a measure of discipline, for without discipline the disorderly and passionate element—however powerfully enlivening it might be—might not amount to anything concrete. Nietzsche in fact maintains that what we ordinarily conceive of as creative “freedom” is always in the final analysis a function of “unfreedom,” for it is only when the artist subjects herself to a strict regimen of rules and regulations that inspiration in any tangible form can take place. From such restraint, Nietzsche proposes, “there always emerges and has always emerged in the long run something for the sake of which it is worthwhile to live on earth, for example virtue, art, music, dance, reason, spirituality—something transfiguring, refined, mad and divine.” According to this account, it is the artist’s self-discipline that establishes the confines within which the asocial and disordered elements of the creative process can be transformed into something spectacularly appealing. At the same time, too ruthless a repression of these elements would result in insipid and purely derivative art. This is to contend that discipline alone is not enough to engender sublime art, for even though it often manages to give rise to highly cultured and graceful forms of beauty, it lacks the raw energy and vitality to generate something truly inspired. Likewise, the asocial aspects of our subjectivity alone are not enough to produce transcendent art, for though they possess raw energy and vitality, they lack the element of restraint that is indispensable to transform this energy and vitality into a stirring work of art. In this sense, it is the delicate balance between the tamed and the untamed aspects of existence that ignites the embers of awe-inducing creativity. Art that does not welcome the asocial, like rationality that does not contain a dose of irrationality, will shrivel up and die of its own indolence.

Supreme Court decision. “On the other hand, the government must restrict the trafficking of minor girls. Dance bars should reopen, but they need strict implementation of laws so that women are not exploited.

This is the sad reality for strict parents who do anything to cage their children. Your children are gloriously living your worst nightmares. Your iron hands as a parent may shape obedience, but they risk forging deceit and hidden scars in your children's souls. Let love and guidance dance hand in hand, fostering trust and allowing their true beauty to blossom.

It had been his intention, in reviewing what he considered to be the necessary proprieties of clerical life, in laying out his own future mode of living, to assume no peculiar sacerdotal strictness; he would not be known as a denouncer of dancing or of card-tables, of theatres or of novel-reading; he would take the world around him as he found it, endeavouring by precept and practice to lend a hand to the gradual amelioration which Christianity is producing; but he would attempt no sudden or majestic reforms.

For a while, the first dancer is alone, oblivious to the crowd. As you watch, you can almost feel the discomfort of people in the park as they keep their distance and occasionally glance over. It’s awkward to watch him flail about on his own. After an uncomfortably long time, a second dancer joins him. Now it still feels awkward but a bit less so. When a third person and then a fourth start dancing, it becomes a group, something that’s easier to join. All of a sudden more and more people participate, each doing his or her own dance, each attracting yet more people. Now a crowd is beginning to form. By the end of the three-minute video, hundreds of people are screaming and dancing, racing from all directions to become part of it. The awkward solo dance has turned into a movement people want to join. When you view your work as a strictly solo activity, it can be both uncomfortable and lonely. Looking for and enabling others to join you can fundamentally change your work and how you feel about it.

LOCAL ORDINANCES STRICTLY ENFORCED. OBSTREPERY FORBIDDEN. WINKLERS AND SKATIFINCHES BE WARNED! ALL ATTEMPTS AT INSEMINATION MUST BE LICENSED. DANCERS ARE ENJOINED TO GRACE AND DIGNITY; THESE TRAITS ARE APPROVED, SINCE THEY CONTRIBUTE TO THE BEAUTY OF THE DANCE.