Benchmark against the top performing movers and shakers in your game. What are the skills required to achieve excellence in your area of specialty as a leader? How are you managing your vision and mission? Do you demonstrate a life lived with clear goals and targets? How are you providing direction, influence and developing others to lead? What is the evidence of the good leadership of your team?
My mum had a massive influence on me, not just in what she wore and how she looked, but in her spirit. She was married to one of the most famous men in the world, and she didn't wear any makeup, ever. I mean, have you ever seen the wife of a man like that rock up with no makeup on? Because I haven't since.
If I had influence with the good fairy who is supposed to preside over the christening of all children I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life as an unfailing antidote against the boredom and disenchant-ments of later years the sterile preoccupation with things that are artificial the alienation from the sources of our strength.
Whenever we can, we try to talk to students. If I can, I'll invite kids from a school to a sound check and take questions from them. I want to show them it's cool to play the trombone. Kids are influenced by what's accessible to them. It's hard for kids to be introduced to music other than what they see on TV and video.
“I have a theory that every time you make an important choice, the part of you left behind continues the other life you could have had. Some people's emanations are very strong, some people create themselves afresh outside of their own body. This is not fancy. If a potter has an idea, she makes it into a pot, and it exists beyond her, in its own separate life. She uses a physical substance to display her thoughts. If I use a metaphysical substance to display my thoughts, I might be anywhere at one time, influencing a number of different things, just as the potter and her pottery can exert influence in different places. There's a chance that I'm not here at all, that all the parts of me, running along all the choices I did and didn't make, for a moment brush agains teach other.”
..., there are two things most important in preparing yourself for success. One is going the extra miles. Never settle for average. If other people study for one hour, study for five. If other run two kilometers, run three. If people give up in 10 seconds, don’t give up until 20. Always try to be more than ordinary...” ... “Another recipe is to never let yourself be influenced by elements outside of yourself. By anyone, anything, or any atmosphere. Meaning, don’t be sad, angry, or disappointed because of external factors. You are the ones with power over yourselves, do don’t give that power to others. Someone may hold a gun, but you have a choice, to feel fear or stand tall. You have choice, most deeply inside, and it has nothing to do with outside influence.” -101
These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.
There is an underlying rhythm to all text. Sentences crashing fall like the waves of the sea, and work unconsciously on the reader. Punctuation is the music of language. As a conductor can influence the experience of the song by manipulating its rhythm, so can punctuation influence the reading experience, bring out the best (or worst) in a text. By controlling the speed of a text, punctuation dictates how it should be read. A delicate world of punctuation lives just beneath the surface of your work, like a world of microorganisms living in a pond. They are missed by the naked eye, but if you use a microscope you will find a exist, and that the pond is, in fact, teeming with life. This book will teach you to become sensitive to this habitat. The more you do, the greater the likelihood of your crafting a finer work in every respect. Conversely the more you turn a blind eye, the greater the likelihood of your creating a cacophonous text and of your being misread.
In terms of "quiet" bourgeois democracy two fundamental possibilities are open to the industrial worker: identification with the bourgeoisie, which holds a higher position in the social scale, or identification with his own social class, which produces its own anti-reactionary way of life. To pursue the first possibility means to envy the reactionary man, to imitate him, and, if the opportunity arises, to assimilate his habits of life. To pursue the second of these possibilities means to reject the reactionary man's ideologies and habits of life. Due to the simultaneous influence exercised by both social and class habits, these two possibilities are equally strong. The revolutionary movement also failed to appreciate the importance of the seemingly irrelevant everyday habits, indeed, very often turned them to bad account. The lower middle-class bedroom suite, which the "rabble" buys as soon as he has the means, even if he is otherwise revolutionary minded; the consequent suppression of the wife, even if he is a Communist; the "decent" suit of clothes for Sunday; "proper" dance steps and a thousand other "banalities," have an incomparably greater reactionary influence when repeated day after day than thousands of revolutionary rallies and leaflets can ever hope to counterbalance. Narrow conservative life exercises a continuous influence, penetrates every facet of everyday life; whereas factory work and revolutionary leaflets have only a brief effect.
“I don't have to worry about what people are thinking and what's going on in the industry. I don't want that stuff to influence what I'm doing. Because I think it stifles you creatively. I don't want to have to care too much about that. All I care about is what the fans think. It's really all I care about, honestly.”