Quotes About Performance

there are two types of people in this world: those who make excuses and those who get the job done. No excuses. You are 100 percent responsible for anything that has your name on it.

The players on your team are responsible for the vast majority of your leverage and ultimate success. Lousy players, poor leverage. Said another way, business success is highly dependent on who you hire and who you don't fire.

This is theatre, not the work-a-day world where people are mean spirited and drag themselves about with "marks of woe".

http://mhprofessional.com/mediacenter . Some

Good music comes out of people playing together, knowing what they want to do and going for it. You have to sweat over it and bug it to death. You can't do it by pushing buttons and watching a TV screen.

I can sustain the impetus over the long tours we do is by feeding off the energy that we get back from an audience. That's my fuel. All i've got is this burning energy, especially when i've got a guitar in my hands

That was the biggest fear. I'd rather clean up before I went on the road. It's bad enough cleaning up by yourself, but the idea of putting the whole tour on the line because I could'n make it was too much; even for me

There is no such thing as a rock-and-roll venue; there's not one in the world that's made to play this kind of music as an ideal form.

But I've always felt very comfortable on stage, even if I screw up. It always felt like a dog, this is my turf, piss around it. While I'm here, nothing else can happen. All I can do is screw up. Otherwise, have a good time.

In the '70s, showtime was when I woke up. I might have been three hours late, but there was no such thing as curfews for shows. If you went to see a show, you would be there for the whole night. Nobody said it would start on time. If I was late, sorry, but it was just the right time for the show. Nobody left.

We never realized just what the scale of this thing would become. How did it get so big when we're not doing anything much different than what we did in 1963 in the Crawdaddy Club? Our usual set list is two-thirds standard Stones numbers, the classics. The only thing that's different is the audiences have grown and the show's gotten longer.

And from the earliest I always felt good on stage. You get nervous before you go up there before a lot of people, but to me the feeling was, let the tiger out the cage. Maybe that's just another version of butterflies. It could be. But I've always felt very comfortable on stage, even if I screw up. It always felt like a dog, this is my turf, piss around it. While I'm here, nothing else can happen. All I can do is screw up.

When you sing lead in a band, it's an exhausting business. Just the breathing involved. Singing song after song is enough to knock most people on their ass. It's an incredible amount of oxygen you're going through. So we would do shows and we'd come off stage and I'd go to bed!

Levitation is probably the closest analogy to what I feel—whether it's "Jumpin' Jack" or "Satisfaction" or "All Down the Line"—when I realize I've hit the right tempo and the band's behind me. It's

It just came, tripping off the tongue, then and there. When you're writing this shit, you've got to put your face in front of the microphone, spit it out. Something will come.

The other guy on that gig was George Jones. They trailed in with tumbleweed following them, as if tumbleweed was their pet. Dust all over the place, a bunch of cowboys. But when George got up, we went whoa, there's a master up there.

The rock's easy, but the roll is another thing...

If you do not have a defined process that moves your people forward so the can achieve greater results, then what is it you are managing?

Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.

WYTIWYG" (pronounced "witty-wig"): What You Test Is What You Get.

We are all shaped by what we do.

The best teaching is often both an intellectual creation and a performing art.

Steele found, for example, that if he could convince women who took difficult mathematics examinations that everyone connected with the test assumed they would perform as well as men, that they did.

For a manager to be perceived as a positive manager, they need a four to one positive to negative contact ratio.