At the highest stage of capitalism, the most necessary revolution appears as the most unlikely one.
The public totally discounts low-probability high-consequence events. The individual says, it's not going to be this plane, this bus, this time.
The health of your family or your office or your city directly affects the health of it after. The better you are at handling high-stress situations with little information, those skills lead to resilience and the ability to recover afterward.
The evil genius of terrorism is that that maximizes unfamiliarity, imaginability, suffering, scale of destruction, unfairness. It's really important to understand why terrorism is so frightening because it is a psychological war and until you understand it and try to reduce the dread, until then you become like a force multiplier for the terrorists inadvertently because you'll tend to overreact to terrorist attacks because the dread factor is so high.
Resilience is a precious skill. People who have it tend to also have three underlying advantages: a believe that they can influence life events; a tendency to find meaningful purpose in life’s turmoil; and a conviction that they can learn from both positive and negative experiences.
Most Korean parents saw themselves as coaches, while American parents tended to act more like cheerleaders.
People help way more than we expect, way more than makes sense. But when you talk to people called heroes, they often say they did it for themselves. In one case, a hero said that the cost of not doing it is so great, the sense of shame, when he knew that he was strong enough, that the fear of not doing anything was more frightening than the fear of dying.
Find your voice, shout it from the rooftops, and keep doing it until the people that are looking for you find you.
Setbacks are what build character. They are what separate the lucky from the truly successful.
And, as my father used to tell me growing up, "Play it beautiful, play it beautiful. " He said, "I don't care if you don't hit all of the notes. If you don't move a person's heart, it's not music. "
See, I have a different type of music from other peoples. They playing the other kind of blues, and I'm playing cotton-patch blues. . . . Ain't nobody now can play the blues that I play.