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101 " If we do not rise to the challenge of our unique capacity to shape our lives to seek the kinds of growth that we find individually fulfilling then we can have no security: we will live in a world of sham in which our selves are determined by the will of others in which we will be constantly buffeted and increasingly isolated by the changes round us. "
102 " Don’t polish it forever, put it out there. At some point the changes aren’t improvements, they’re just changes. "
― Dan Alatorre
103 " See? Reading you all night has strengthened me. That’s what God’s love does. If you’re beginning to feel uncomfortable now, it’s because the changes in you are already beginning to happen and one day you’ll be glad to say, Deliver me from meaninglessness. "
― Ian McEwan , Enduring Love
104 " Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented. "
105 " Whenever one or more components of a company's business model changes, new business models are created for supporting companies. The changes might involve niches served, new marketing angles or improved value propositions. "
106 " The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. "
― Audre Lorde
107 " We hope President Obama will now respect the will of the people, change course, and commit to making the changes they are demanding. To the extent he is willing to do this, we are ready to work with him. "
108 " I can go into the wilderness and not see anyone for days and experience a kind of space that hasn't changed for tens of thousands of years. Having that experience was necessary to my perception of how photography can look at the changes humanity has brought about in the landscape. My work does become a kind of lament. "
109 " Music is always changing and the changes are unpredictable. "
110 " The positive and negative states of being bring about action. They cause the loss of balance and of happiness. They cause the eternal revolutions - the changes that follow one upon the other. They explain why happiness cannot be achieved in time. "
111 " Everything must change and you do what you can with the changes that are made. You can't stop it. You can't fight it. Everybody tries to go back to yesterday, but you can't go back to yesterday. The only time there is, is now. "
112 " This is why the ultimate reason of things must lie in a necessary substance, in which the differentiation of the changes only exists eminently as in their source; and this is what we call God. "
113 " There's a lot of interest from the medical community on how things develop in microgravity, and the hope, later, that is expected to apply to what the changes are in humans as well. "