Tempo Run Quotes

Un tempo piangevo moltissimo ed ero pieno di speranze. Oggi rido parecchio, un riso disilluso.

I remember a little girl... But how can that be... Once I was that little Resi, and then one day I became an old woman? ...If God wills it so, why allow me to see it? Why doesn't he hide it from me? Everything is a mystery, such a deep mystery... I feel the fragility of things in time. From the bottom of my heart, I feel we should cling to nothing. Everything slips through our fingers. All that we seek to hold on to dissolves. Everything vanishes, like mist and dreams... Time is a strange thing. When we don't need it, it is nothing. Then, suddenly, there is nothing else. It is everywhere around us. Also within us. It seeps into our faces. It seeps into the mirror, runs through my temples... Between you and I it runs silently, like an hourglass. Oh, Quin Quin. Sometimes I feel it flowing inexorably. Sometimes I get up in the middle of the night and stop all the clocks...

There was no let-up. The tempo was always moderate but steady. If a new guy decided to pick up the pace, that's where it stayed, whether he finished with the group or not. You showed off at your peril.

First: breakdown, impossible to sleep, impossible to stay awake, impossible to endure life, or, more exactly, the course of life. The clocks are not in unison; the inner one runs crazily on at a devilish or demoniac or in any case inhuman pace, the outer one limps along at its usual speed. What else can happen but that the two worlds split apart, and they do split apart, or at least clash in a fearful manner. There are doubtless several reasons for the wild tempo of the inner process; the most obvious one is introspection, which will suffer no idea to sink tranquilly to rest but must pursue each one into consciousness, only itself to become an idea, in turn to be pursued by renewed introspection. Secondly: this pursuit, originating in the midst of men, carries one in a direction away from them. The solitude that for the most part has been forced on me, in part voluntarily sought by me –but what was this if not compulsion too? –is now losing all its ambiguity and approaches its dénouement. Where is it leading? The strongest likelihood is, that it may lead to madness; there is nothing more to say, the pursuit goes right through me and rends me asunder. Or I can –can I? –manage to keep my feet somewhat and be carried along in the wild pursuit. Where, then, shall I be brought? ‘Pursuit,’ indeed, is only a metaphor. I can also say, ‘assault on the last earthly frontier’, an assault, moreover, launched from below, from mankind, and since this too is a metaphor, I can replace it by the metaphor of an assault from above, aimed at me from above.

As vezes aquele que está fugindo da natureza da vida-morte-vida insiste em pensar que o amor é apenas uma dádiva. No entanto, o amor em sua plenitude é uma série de mortes e de renascimentos. Deixamos uma fase, um aspecto do amor, e entramos em outra. A paixão morre e volta. A dor é espantada para longe e vem à tona mais adiante. Amar significa abraçar e ao mesmo tempo suportar inúmeros finais e inúmeros recomeços — todos no mesmo relacionamento.

A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, makingsure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N' Roses. my favorite heavy metal band!" I asked the neurosurgeon If he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was, would it be in exactly the same key and tempo as the record? Such a song (unliken"Silent Night") has one canonical version. so we could simply have superimposed a recording of the patients humming with the standard record and compared the results. Unfortunately, even though a tape recorder had been running during the operation, thesurgeon hadn't asked the patient to sing along. ''Why not?" I asked, and he replied: "I hate rock music!' Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man. and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do it." replied the neurosurgeon. "since I cut out that part." "It was part of the epileptic focus?" I asked. "No,'' the surgeon replied, ''I already told you — I hate rock music.

Temping in the temple of another tempo.

Running … led to a deep happiness that only comes from doing what you love, what your soul screams at you to do upon waking each day.

Cochise Jones always liked to play against your expectations of a song, to light the gloomy heart of a ballad with a Latin tempo and a sheen of vibrato, root out the hidden mournfulness, the ache of longing, in an up-tempo pop tune. Cochise’s six-minute outing on the opening track of Redbonin’ was a classic exercise in B-3 revisionism, turning a song inside out. It opened with big Gary King playing a fat, choogling bass line, sounding like the funky intro to some ghetto-themed sitcom of the seventies, and then Cochise Jones came in, the first four drawbars pulled all the way out, giving the Lloyd Webber melody a treatment that was not cheery so much as jittery, playing up the anxiety inherent in the song’s title, there being so many thousand possible ways to Love Him, so little time to choose among them. Cochise’s fingers skipped and darted as if the keys of the organ were the wicks of candles and he was trying to light all of them with a single match. Then, as Idris Muhammad settled into a rolling burlesque-hall bump and grind, and King fell into step beside him, Cochise began his vandalism in earnest, snapping off bright bunches of the melody and scattering it in handfuls, packing it with extra notes in giddy runs. He was ruining the song, rifling it, mocking it with an antic edge of joy. You might have thought, some critics felt, that the meaning or spirit of the original song meant no more to Cochise Jones than a poem means to a shark that is eating the poet. But somewhere around the three-minute mark, Cochise began to build, in ragged layers, out of a few repeated notes on top of a left-hand walking blues, a solo at once dense and rudimentary, hammering at it, the organ taking on a raw, vox humana hoarseness, the tune getting bluer and harder and nastier. Inside the perfectly miked Leslie amplifier, the treble horn whirled, and the drivers fired, and you heard the song as the admission of failure it truly was, a confession of ignorance and helplessness. And then in the last measures of the song, without warning, the patented Creed Taylor strings came in, mannered and restrained but not quite tasteful. A hint of syrup, a throb of the pathetic, in the face of which the drums and bass fell silent, so that in the end it was Cochise Jones and some rented violins, half a dozen mournful studio Jews, and then the strings fell silent, too, and it was just Mr. Jones, fading away, ending the track with the startling revelation that the song was an apology, an expression, such as only the blues could ever tender, of limitless regret.

I think, in the end, we have to say that there should be no discussion of Martin Luther King Jr. without Ella Baker, which is to say they are complementary. These two figures, voices, tendencies in the Black freedom movement, and particularly in the human freedom movement in general, they say something to young people these days in the age of Obama. See, Obama ends up being the worst example of messianic leadership, captured by a vicious system that is oligarchic domestically and imperialistic globally and uses the resonances of this precious freedom struggle as a way of legitimating himself in the eyes of both the Black people and the mainstream Americans, and acting as if as community organizer he has some connection to Ella Baker, which is absurd and ludicrous in light of him running the oligarchic system and being so proud of heading the killing machine of US imperial powers. So that when young people - who now find themselves in an even more desperate situation given the present crisis - think about the legacy of Martin King and legacy of Ella Baker in the age of Obama, it compounds the misunderstandings and misconstructions, and sabotages the intellectual clarity and political will necessary to create the kind of change we need. To use jazz metaphors, what we need would be the expression and articulation of different tempos and different vibrations and different actions and different witnesses, so it's antiphonal; it's call-and-response, and in the call-and-response, there are Ella Baker-like voices tied to various kinds of deep democratic witnesses that have to do with everyday people organizing themselves. And then you've got the Martin-like voices that are charismatic, which are very much tied to a certain kind of messianic leadership, which must be called into question, which must be democratized, which must be de-patriarchalized. And yet they are part of this jazz combo.

I always go to sleep early because the dream is my favorite late night television show, a soap opera that runs on the channel of my hope.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

February 14: Tempo features Marilyn in a swimsuit she wore in We’re Not Married. Here she stands with her arms resting on a heart (almost as large as she is) with a cupid’s arrow running downward and diagonally across the page. “Marilyn’s New Career” is the headline for an article reporting her refusal to do the dumb blonde role in How To Be Very, Very Popular.

Run 400 meters at current 5K pace. Do 5 chin-ups. If a chin-up bar is not available, perform 12 biceps curls with dumbbells while standing on the right leg and then the left leg. Complete 36 abdominal crunches. Perform 15 squat thrusts with jumps (burpees). Do 15 push-ups. Complete 30 two-leg squats (body-weight squats). Run another 400 meters at 5K tempo. Do 12 squat and dumbbell presses. Complete 10 feet-elevated push-ups. Perform 36 low-back extensions. Do 15 bench dips. Complete 15 lunge squats with each leg. Run another 400 meters at 5K pace. Repeat steps 2 through 13 to complete two circuits in all; then cool down with about 2 miles (3.2 km) of light jogging, followed by thorough stretching and exercises to build core strength.

Happiness is like a genre of music that nearly everyone knows how to dance to. Happiness has a very simple tempo, catchy phrasing, and memorable lyrics. It's the song at the wedding that makes everyone excited to run to the dance floor.

I made myself listen to the music I loved as I worked. I would not be a coward anymore. If I acted like a lunatic, so be it! In my mind I raged and I vowed that Samuel’s leaving would not make me resort to musical holocaust. I was done with that nonsense! I played Grieg until my fingers were stiff, and I worked with the frenzy of Balakirev’s ‘Islamey’ pounding out of the loud speakers. My dad came inside during that one and turned around and walked right back out again. On day 15, I made a chocolate cake worthy of the record books. It was disgustingly rich and fattening, teetering several stories high, weighing more than I did, laden with thick cream cheese frosting, and sprinkled liberally with chocolate shavings. I sat down to eat it with a big fork and no bib. I dug in with a gusto seen only at those highly competitive hotdog eating contests where the tiny Asian girl kicks all the fat boys’ butts. “JOSIE JO JENSEN!” Louise and Tara stood at the kitchen door, shock and revulsion, and maybe just a little envy in their faces. Brahms ‘Rhapsodie No. 2 in G Minor’ was making my little kitchen shake. Eating cake to Brahms was a new experience for me. I liked it. I dug back in, ignoring them. “Well Mom,” I heard Tara say, “what should we do?!” My Aunt Louise was a very practical woman. “If you can’t beat ’em, join ’em!” She quoted cheerfully. Before I knew it, Tara and Louise both had forks, too. They didn’t seem to need bibs either. We ate, increasing our tempo as the music intensified. “ENOUGH!” My dad stood in the doorway. He was good and mad, too. His sun-browned face was as ruddy as my favorite high heels. “I sent you two in for an intervention! What is this?! Eater’s Anonymous Gone Wild?” “Aww, Daddy. Get a fork,” I replied, barely breaking rhythm. My dad strode over, took the fork from my hand and threw it, tines first, right into the wall. It stuck there, embedded and twanging like a sword at a medieval tournament. He pulled out my chair and grabbed me under the arms, pushing me out of the kitchen. I tried to take one last swipe at my cake, but he let out this inhuman roar, and I abandoned all hope of making myself well and truly sick. “Tara! Aunt Louise!” I shouted frantically. “I want you gone!!! That’s my cake! You can’t have any more without me!” My dad pushed me through the front door and out onto the porch, the screen banging behind him. I sunk to the porch swing, sullenly wiping chocolate crumbs from my mouth. My dad stomped back inside the house and suddenly the music pouring from every nook and cranny stopped abruptly. I heard him tell Louise he’d call her later, and then the kitchen door banged, indicating my aunt’s and Tara’s departure. Good. They would have eaten that whole cake. I saw the way they were shoveling it in.

keeping the first station busy, and it’s similar to first-in, first-out scheduling. But of course, now everyone knows that you don’t release work based on the availability of the first station. Instead, it should be based on the tempo of how quickly the bottleneck resource can consume the work.” I just stare at him blankly. He continues, “Because of how Mark was releasing work, inventory kept piling up in front of our bottleneck, and jobs were never finished on time. Every day was an emergency. For years, we were awarded Best Customer of the Year from our air freight shipment company, because we were overnighting thousands of pounds of finished goods to angry customers almost every week.” He pauses and then says emphatically, “Eliyahu M. Goldratt, who created the Theory of Constraints, showed us how any improvements made anywhere besides the bottleneck are an illusion. Astonishing, but true! Any improvement made after the bottleneck is useless, because it will always remain starved, waiting for work from the bottleneck. And any improvements made before the bottleneck merely results in more inventory piling up at the bottleneck.” He continues, “In our case, our bottleneck was a heat treat oven, just like in Goldratt’s novel, The Goal. We also had paint-curing booths that later became constraints, too. By the time we froze the release of all new jobs, you couldn’t even see the bottleneck work centers because they were surrounded by huge piles of inventory. Even from up here!” Despite myself, I laugh with him. It’s obvious in hindsight, but I can imagine that to Mark, it was anything but obvious. “Look, thanks for the history lesson. But I learned most of this already in business school. I don’t see how this could possibly be relevant to managing IT Operations. IT is not like running a factory.” “Oh, really?” he turns to me, frowning intensely. “Let me guess. You’re going to say that IT is pure knowledge work, and so therefore, all your work is like that of an artisan. Therefore, there’s no place for standardization, documented work procedures, and all that high-falutin’ ‘rigor and discipline’ that you claimed to hold so near and dear.” I frown. I can’t figure out if he’s trying to convince me of something I already believe or trying to get me to accept an absurd conclusion. “If you think IT Operations has nothing to learn from Plant Operations, you’re wrong.

My running shoes sang a rhythmic slap-slap-slap melody on the concrete sidewalk. My ponytail danced back and forth to the same tempo. My breathing matched the beat, huffing in and out in harmony. Ah, running; how I loathed it. I’d

Correre per me è un ottimo esercizio, e al tempo stesso costituisce una valida metafora. Allenandomi giorno dopo giorno, partecipando a una gara dopo l'altra, miglioro gradualmente i miei record, e in questo processo mi evolvo anch'io. O per lo meno cerco di evolvere, è a questo scopo che compio sforzi quotidiani. Come corridore non valgo granché, questo è certo. Sono assolutamente nella media, forse dovrei dire al di sotto. La mediocrità non costituisce però per me un vero problema. L'essenziale è superare anche di poco il livello raggiunto in precedenza. Se un corridore deve per forza individuare un avversario da battere, lo cerchi nel se stesso del giorno prima.

No matter how fast you run, you cannot run away from your KARMA.

What was a 4-mile tempo run or an 8k race after the suffer-fest of 26.2?

I love you.” I froze, my heart pounding. Linking our fingers together, he set them on his thigh. The windshield wipers slid from side to side, their rhythmic tempo mocking the racing of my pulse. Swallowing hard, I whispered, “Say that again.” He slowed at a light. Turning his head, Gideon looked at me. He looked weary, as if all his usual pulsing energy had been expended and he was running on fumes. But his eyes were warm and bright, the curve of his mouth loving and hopeful. “I love you. Still not the right word, but I know you want to hear it.” “I need to hear it,” I agreed softly. “As long as you understand the difference.” The light changed and he drove on. “People get over love. They can live without it, they can move on. Love can be lost and found again. But that won’t happen for me. I won’t survive you, Eva.” My breath caught at the look on his face when he glanced at me. “I’m obsessed with you, angel. Addicted to you. You’re everything I’ve ever wanted or needed, everything I’ve ever dreamed of. You’re everything. I live and breathe you. For you.

Prima di cadere in un sonno profondo c’è ancora il tempo perché una domanda si faccia strada nei miei pensieri confusi: un cuore torturato può azzardarsi a provare nuove emozioni rischiando di spezzarsi un’altra volta dopo che in parte ha smesso di esistere?

The growth lead sets the course for experimentation as well as the tempo of experiments to be run, and monitors whether or not the team is meeting their goals.

Cassilda: (speaking to herself) We strain our ears for the sound of love, but must all mothers bear the horror of seeing their Children grow from wonderful possibility to grim reality? Stranger: (Stands mutely in the shadows, his hands folding across his chest) Cassilda: If only we could stay a moment behind the veil of time, and live in that moment of indecision. Stranger: (Whispers so Cassilda cannot hear) Existence is decision. (...) [Te Child appears before the closed curtain] 1 Te Child: I am not the Prologue, nor the Afterword; call me the Prototaph. My role is this: to tell you it is now too late to close the book or quit the theatre. You already thought you should have done so earlier, but you stayed. How harmless it all is! No definite principles are involved, no doctrines promulgated in these pristine pages, no convictions outraged…but the blow has fallen, and now it is too late. And shall I tell you where the sin lies? It is yours. You listened to us; and all the say you stay to see the Sign. Now you are ours, or, since the runes also run backwards, we are yours…forever. (...) Along the shore the cloud waves break, The twin suns sink behind the lake, The shadows lengthen In Carcosa. Strange is the night where black stars rise, And strange moons circle through the skies But stranger still is Lost Carcosa. Songs that the Hyades shall sing, Where flap the tatters of the King, Must die unheard in Dim Carcosa. Song of my soul, my voice is dead; Die thou, unsung, as tears unshed Shall dry and die in Lost Carcosa. (...) [As the gong continues to strike, everyone begins to unmask. There are murmurs and gestures of surprise, real or polite, as identities are recognized or revealed. Ten there is a wave of laugher. The music becomes louder and increases in tempo.] Camilla: You, sir, should unmask. Stranger: Indeed? Camilla: Indeed, it’s time. We have all laid aside disguise but you. Stranger: I wear no mask. Camilla: No mask? No mask! Stranger: I, I am the Pallid Mask itself. I, I am the Phantom of Truth. I came from Alar. My star is Aldebaran. Truth is our invention; it is our weapon of war. And see–by this sign we have conquered, and the siege of good and evil is ended… § [On the horizon, the towers of Carcosa begin to glow] Noatalba: (Pointing) Look, look! Carcosa, Carcosa is on fire! (...) The King: Te Phantom of ruth shall be laid. Te scalloped tattersof Te King must hide Haita forever. As for thee, Yhtill– All: No! No, no! Te King: And as for thee, we tell you this; it is a fearful thing to fall into the hands of the living god. (...) Te Stranger falls, and everyone else sinks slowly to the ground after him. Te King can now be seen, although only faintly. He stands in state upon the balcony. He has no face, and is twice as tall as a man. He wears painted shows under his tattered, fantastically colored robes, and a streamer of silk appears to fall from the pointed tip of his hood. Behind his back he holds inverted a torch with a turned and jeweled shaft, which emits smoke, but no light. At times he appears to be winged; at others, haloed. These details are for the costumier; at no point should Te King be sufficiently visible to make themall out. Behind him, Carcosa and the Lake of Hali have vanished. Instead, there appears at his back a huge sculptured shield, in shape suggesting a labrys of onyx, upon which the Yellow Sign is chased in gold. Te rest of the stage darkens gradually, until, at the end, it is lit only by the decomposed body of the Stranger, phosphorescing bluely.]

Likewise, by expanding the size of their formation as far as the terrain and visibility would allow whenever they were out of actual contact with the enemy, they increased the likelihood that when they did make contact, the flanks of their formation would be wider than the enemy’s position. Like a rugby team playing a running game, their entire approach—the tempo and flow of the way they moved and fought—was designed around creating and exploiting a series of these overlaps.

It was exciting and slightly embarrassing to feel the floor with her naked toes as he swept her into one luxurious full turn after another. Of course, the sensation of dancing with bare feet wasn't entirely new: She'd waltzed alone in her bedroom more than once, imagining herself in the arms of some unknown suitor. But it felt very different when her partner was a flesh-and-blood man. She relaxed and abandoned herself, following his guidance without effort or thought. Although they'd started slowly, Mr. Severin had quickened their tempo to match the music. The waltz was flowing and swift, each turn making her skirts whirl in eddies of silk and glitter. It was like flying. Her stomach turned light, as if she were on a garden swing, soaring a little too high and coming down in a giddy arc. She hadn't felt so free since she'd been a young girl, running recklessly across the Hampshire Downs with her twin. The world was nothing but moonlight and music as the two of them swept through the empty conservatory with the ease of mist carried on a sea breeze.