Stealing Thunder

Per Wikipedia, “stealing thunder” is a rhetorical tactic that can be utilized In a contentious situation, such as a court case, a political debate or a public relations crisis. By introducing the point first and being open about it or rebutting it, the force of the opposition’s argument is diminished – their thunder is stolen.

A great example of this is from the film 8 Mile. In the climactic scene “Rabbit” (played by Eminem) has a rap battle against “Papa Doc” (played by Anthony Mackie). Rabbit, aware that Papa Doc has a lot of negative information about him, puts it all out there first. That way, Papa Doc has nothing to say when it’s his turn. It’s a brilliant move. Here’s the scene.

Another way to think about stealing thunder is to be your own toughest critic. Have expectations for yourself that are much higher than anyone else’s. That way, both criticisms and compliments won’t affect you. Because you have your own standard of excellence.

And all you really care about is whether you’re living up to it.

P.S. – Read the article “How To Get An MBA From Eminem?” by James Altucher

How Do You Handle A Mistake?

When you make a mistake or forget to do something, you have a few different options at your disposal:

(a) hope no one notices.

(b) try to cover it up or make up an excuse.

(c) own it. call yourself out. apologize.

How you handle mistakes shapes you and will ultimately define your character.

Speaking of, I forgot to put my blog post out yesterday. Apologies everyone.

Creative Work

The below passage from Mary Oliver’s book of essays Upstream is phenomenal (H/t to to Poetic Outlaws)

In creative work—creative work of all kinds—those who are the world’s working artists are not trying to help the world go around, but forward. Which is something altogether different from the ordinary. 

Such work does not refute the ordinary. It is, simply, something else. Its labor requires a different outlook—a different set of priorities.

Certainly there is within each of us a self that is neither a child, nor a servant of the hours. It is a third self, occasional in some of us, tyrant in others. This self is out of love with the ordinary; it is out of love with time. It has a hunger for eternity.

Intellectual work sometimes, spiritual work certainly, artistic work always—these are forces that fall within its grasp, forces that must travel beyond the realm of the hour and the restraint of the habit. Nor can the actual work be well separated from the entire life. 

Like the knights of the Middle Ages, there is little the creatively inclined person can do but to prepare himself, body and spirit, for the labor to come—for his adventures are all unknown.

In truth, the work itself is the adventure. And no artist could go about this work, or would want to, with less than extraordinary energy and concentration. The extraordinary is what art is about. 

Neither is it possible to control, or regulate, the machinery of creativity. One must work with the creative powers—for not to work with is to work against; in art as in spiritual life there is no neutral place.

Its concern is the edge, and the making of a form out of the formlessness that is beyond the edge. Of this there can be no question—creative work requires a loyalty as complete as the loyalty of water to the force of gravity. 

A person trudging through the wilderness of creation who does not know this—who does not swallow this—is lost. 

He who does not crave that roofless place eternity should stay at home. 

Such a person is perfectly worthy, and useful, and even beautiful, but is not an artist. Such a person had better live with timely ambitions and finished work formed for the sparkle of the moment only.

There is a notion that creative people are absentminded, reckless, heedless of social customs and obligations. It is, hopefully, true. For they are in another world altogether. It is a world where the third self is governor. Neither is the purity of art the innocence of childhood, if there is such a thing. 

One’s life as a child, with all its emotional rages and ranges, is but grass for the winged horse—it must be chewed well in those savage teeth. 

There are irreconcilable differences between acknowledging and examining the fabulations of one’s past and dressing them up as though they were adult figures, fit for art, which they never will be. 

The working, concentrating artist is an adult who refuses interruption from himself, who remains absorbed and energized in and by the work—who is thus responsible to the work.

There is no other way work of artistic worth can be done. And the occasional success, to the striver, is worth everything. 

The most regretful people on earth are those who felt the call to creative work, who felt their own creative power restive and uprising, and gave to it neither power nor time.

If you feel the call, then you must heed the call.

Go make your art.

State Change

To fix what’s bugging you, chances are you don’t need to do something big like move to a different state.

You just need a state change.

Go for a run, meditate, pray, take a nap, get some ice cream, do some push ups, recite your favorite mantra, read some poetry, take a cold shower, call a friend, do a random act of kindness, etc…Whatever. Just do something, anything, that shifts your focus. That gets you out of that negative state of mind and back on track, doing what you want to be doing.

Age and experience bring the tools to accomplish this state change. As well as the knowledge that you can make the change much faster than you think.

Thank You

And so today, my world it smiles
Your hand in mine, we walk the miles
Thanks to you it will be done
For you to me are the only one, yeah

Alright now
Happiness, no more be sad
Happiness, I’m glad

If the sun refused to shine
I would still be loving you
If mountains crumble to the sea
There will still be you and me
-song “Thank You” by Led Zeppelin

Wanna be more present? Say “Thank You.”

Wanna be in a better mood? Say “Thank You.”

And while you’re at it, listen to this Chris Cornell cover.

Objectives

Teaching and acting share this best practice in common…Asking yourself before you start, “What is my objective?”

A teacher objective might be, “What do I want the student to learn?”

An actor objective might be, “What do I want the other person to get or now understand?”

The test to see if your objective works lies solely in what the student or other person does as a result of your actions.

And while you still might accomplish your goal without knowing or having an objective, it certainly makes things a whole lot easier and clearer if you do.

Surprise!

When’s the last time life surprised you? If it’s been a while, then you need to actively notice more.

When’s the last time you surprised yourself? If it’s been a while, then you need to actively risk more.

Tricky Talk

Whenever you’re tempted to talk about what you’re gonna do, don’t.

Instead, get to work and do it.

Talking about it with others sure is fun. And you’ll get almost all the same endorphins you would from completing it. Talk is tricky that way.

But years later, you’ll still be talking about it.

Wishing and wondering why you never did it.

P.S. – This short excerpt from Derek Sivers TED Talk says it all.

Master The Mundane

Stop desiring to only do what you like to do.

Start desiring to find a way to do what you don’t like to do, but know you have to do, in service of what you love to do.

Master yourself by mastering the mundane.

That’s how you’ll build a championship life.