Martha and the Diamond (with links and music) May 11, 2021

Posted by ajoyfulpractice in Art, Books, Buddhism, Life, Music, One Hoop.
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“Ramadān Mubarak, Blessed Ramadān!” to anyone who is observing the month of Ramadan. Many blessings, also, to those who are Counting the Omer.

“When I was young I studied with Martha Graham; not to learn to dance, but to learn to move on the stage. If Martha Graham could have had her way, she would have taught us all how to move – through life. That has been and will be her goal: proper movement through life, the relationship of the body to the mind and the body to the spirit. Martha Graham is a compulsive student of the human heart.”

–actor Gregory Peck on Martha Graham (in a documentary)

“Furthermore, Subhūti, in the practice of compassion and charity a disciple should be detached. That is to say, he should practice compassion and charity without regard to appearances, without regard to form, without regard to sound, smell, taste, touch, or any quality of any kind. Subhūti, this is how the disciple should practice compassion and charity. Why? Because practicing compassion and charity without attachment is the way to reaching the Highest Perfect Wisdom, it is the way to becoming a living Buddha.”

– The Diamond Sutra (4)

Please join me today (Tuesday, May 11^th) at 12:00 PM or 7:15 PM for a for Graham-Diamond-Sutra inspired virtual yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. Give yourself extra time to log in if you have not upgraded to Zoom 5.0. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.

Tuesday’s playlist is available on YouTube and Spotify.

You can read more about the Diamond Sutra and Martha Graham in my 2020 post.

In the spirit of generosity (“dana”), the Zoom classes, playlists, and blog posts are freely given and freely received. Don’t feel “fourthed,” but please keep in mind that there’s still time to Kiss My Asana! Donations to the yogathon are counted for classes. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). If you don’t mind me knowing your donation amount you can also donate to me directly. Donations to Common Ground are tax deductible; class purchases and donations directly to me are not necessarily deductible.)

### “Keep the channel open.” ~ MG ###

New Year, New Season (a “missing” post for multiple Saturdays) March 21, 2021

Posted by ajoyfulpractice in "Impossible" People, 19-Day Fast, Art, Baha'i, Changing Perspectives, Faith, New Year, Religion.
Tags: "Impossible" People, Abolqasem Ferdowsi, Abul-Qâsem Ferdowsi Tusione, Aimee Lehto, Boyd Croyner, Calendars, Dick Davis, Joseph Priestley, Michaelangelo, Muhammad Ali, Nature Journal, Roccamonfino, Spring, Swami Jnaneshvara, Yoga Sutra
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“Nowruz Mubarak!” Happy New Year to those who are celebrating and Happy Spring to those in the Northern Hemisphere.

[This post is related to three Saturdays, March 6^th; March 13^th; and March 20^th. You can request an audio recording of any of the practices via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

“At a time of another crisis, ‘Abdu’l-Bahá offered these words of counsel: ‘In a day such as this, when the tempests of trials and tribulations have encompassed the world, and fear and trembling have agitated the planet, ye must rise above the horizon of firmness and steadfastness with illumined faces and radiant brows in such wise that, God willing, the gloom of fear and consternation may be entirely obliterated, and the light of assurance may dawn above the manifest horizon and shine resplendently.’ The world stands more and more in need of the hope and the strength of spirit that faith imparts. Beloved friends, you have of course long been occupied with the work of nurturing within groups of souls precisely the attributes that are required at this time: unity and fellow feeling, knowledge and understanding, a spirit of collective worship and common endeavour. Indeed, we have been struck by how efforts to reinforce these attributes have made communities especially resilient, even when faced with conditions that have necessarily limited their activities. Though having to adapt to new circumstances, the believers have used creative means to strengthen bonds of friendship, and to foster among themselves and those known to them spiritual consciousness and qualities of tranquillity, confidence, and reliance on God.”

– quoted from a rare “New Year” message from the Universal House of Justice “To the Bahá’is of the World,” dated Naw-Ruz 177 (March 20, 2020, in reference to COVID-19 recommendations)

Today, Saturday, March 20^th, was the Vernal (or Spring) Equinox in the Northern Hemisphere – which coincides with Nowruz, also known as the Persian New Year or Iranian New Year, which is also the Zoroastrian and the Bahá’i New Year. Nowruz is a compound of two Persian words and literally means “new day.” As this is a new beginning for so many around the world, it feels like an auspicious time to start catching back up on my blog posts!

The date of this New Year (and of the Vernal Equinox) is established every year through the astronomical observations that result in the Solar Hijri (Persian) calendar, which is the oldest and most accurate solar calendar. Technically, the Bahá’i New Year started at sunset on Friday evening; but it is also a moveable based on the change in seasons.

In “the Most Holy Book” of the Bahá’i faith, the Kitáb-i-Agdas, the prophet Bahá’u’lláh explained that the equinox was a “Manifestation of God” and, therefore, would mark the new day/year. He also indicated that the actual date would be based on a “standard” place chosen by the Universal House of Justice (the nine-member ruling body of the worldwide community) in Haifa, Israel. In 2014 (which was year 171 in their community), the Universal House of Justice chose Tehran as the special place in the world that would serve as the observational standard. This is year 178.

People within the Bahá’i community spend the last month of the year preparing for the New Year by observing the 19-Day Fast. Throughout various parts of Asia, the Caucasus, the Black Sea Basin, and the Balkans people from a variety of faiths have traditions which sometimes include a month’s worth of (preparatory) celebrations. These celebrations include “spoon-banging” and costumed visitors in a practice similar to Halloween’s trick-or-treaters; rituals related to light; a celebration of the elements; a celebration of ancestors; and stories about how light (literally and symbolically) overcomes darkness.

“But his splendid son, Jamshid, his heart filled with his father’s precepts, then prepared to reign. He sat on his father’s throne, wearing a golden crown according to the royal custom. The imperial [divine glory] was his. The world submitted to him; quarrels were laid to rest, and all demons, birds and fairies obeyed Jamshid’s commands. The royal throne shone with luster, and the wealth of the world increased. He said, ‘God’s glory is with me; I am both prince and priest. I hold evildoers back from their evil, and I guide souls towards the light.’”

– quoted from “The First Kings” in Shanameh – The Persian Book of Kings by Abolqasem Ferdowsi (translated by Dick Davis)

One such story appears in the Shāhnāma (“The Book of Kings”), an epic Persian poem written by Abul-Qâsem Ferdowsi Tusione around the 10^th and 11^th centuries and one of the world’s longest poems attributed to a single author. According to the legend, there was a time when the world was plunged into darkness and a deadly winter that caused most people to lose hope. However, the mythical King Jamshid, who spent over 100 years building a great kingdom, saved the world and restored hope by building a throne out of gems and precious metals. He then sat on the throne and had “demons” lift him up to catch the dying light so that he became as bright as the sun. More gems were gathered around him and he became even brighter. This became the “New Day.”

I often mention that every day, every inhale, and every exhale is the beginning of a New Year. We don’t often think of it that way, and we certainly don’t (as a whole) view and celebrate life that way. But, the bottom line is that every moment of our lives is a “liminal” moment: a transitional or threshold moment that serves as a doorway between times. We mark notice we have more daylight, more sunshine, and we call it “Spring!” But, in some ways, this moment is arbitrary because we have been getting more daylight since the Winter Solstice.

Sometimes, when the winter is really cold and really dark (or we’ve been cooped-up inside too much) we pay attention to the little incremental differences between one day and the next. We notice the lengthening shadows and the extra seconds. Most times, however, we don’t start noticing the changes until we are told to notice the changes. Even then, however, what we notice is the end result – the culmination of all the little changes; not the transitions themselves. In the Yoga Sūtras, Patanjali instructs us to pay attention to the transitions.

“The transition from one year to the next year happens in an infinitely short moment that is actually non-existent in time. So too, there are transitions in the moments of life and the moments of meditation. Mindfulness of transitions in daily life and during meditation time is extremely useful on the spiritual journey to enlightenment.”

– quoted from the commentary on “Yoga Sutras 3.9-3.16: Witnessing Subtle Transitions With Samyama” by Swami Jnaneshvara Bharati (“Swami J”)

When detailing how the practice of “concentration” “progresses,” Patanjali explores the final three limbs of the Yoga Philosophy (dhāranā, dhyāna, and samādhi) and refers to them collectively as samyama. Once he explains how each one flows from the previous ones (all stemming from the earlier practices of prāņāyāma and pratyāhāra) – and cautions against efforts to skip the stages of progression – he delineates the difference between external and internal experiences. We often think of these as being very obviously related to things that are happening outside of the body and/or separate from us versus things happening inside the body and/or directly related to us. We may even break things down as things we can touch/hold versus things that are not tangible.

Obvious, right? But what happens when we “Get Inside” (as we did on Saturday, March 6^th)?

Michelangelo di Lodovico Buonarroti Simoni, the artist, was born March 6, 1475, in Caprese (then the Republic of Florence and now Tuscany, Italy). Known for works like David, the Pietá, and some of the most well-known frescoes in the Sistine Chapel, Michelangelo was known as Il Divino (“The Divine One”) by his contemporaries, because he had the ability to bring inanimate objects to life and to create terribilitá (a sense of awesomeness or emotional intensity). He said, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.” He also said, “I saw the angel in the marble and carved until I set him free.”

In the practice of Yoga, we use the first four limbs of the philosophy the way Michelangelo used his carving and painting tools: to bring what is inside out, to set our inner angel free. Or, as I mentioned on the 6^th, we can use it to set our inner GOAT free.

“‘He who is not courageous enough to take risks will accomplish nothing in life.’”

– quoted from the Ebony Magazine article, “Muhammad Ali: ‘Don’t Count Me Out’ – Despite his medical problems, ‘The Greatest’ says there is plenty of fight left in his body” by Walter Leavy (published March 1985)

In 1964, it was announced to the world that the boxer we now know as The Greatest of All Times would no longer go by his birth name or “slave name” – which was also his father’s name. The heavy-weight champion’s grandfather had named his son (Cassius Marcellus Clay, Sr.,) after a 19^th-century abolitionist politician in Kentucky (Cassius Marcellus Clay) who, by some accounts, strong-armed President Abraham Lincoln to emancipate Confederate slaves and freed some of his own slaves in 1844, but still kept some slaves on hand. Muhammad Ali wanted to distance himself from that legacy of slavery and forge his own path; so, he chose a name that reflected his faith and his skills: Muhammad Ali.

The name change wasn’t even close to instantaneous. In fact, with the major exception of Howard Cosell, who coincidentally had changed his own last name back to his family’s original Polish surname, most journalists and media outlets continued to refer to the prizefighter as “Cassius Clay” for over a decade. And it wasn’t just a matter of people getting use to the new name. Because he refused to answer to his birth name, journalist would address him as Muhammad Ali in-person, but then write about “Cassius Clay.” By their own account, The New York Times wrote about over 1,000 articles about “Cassius Clay” from 1964 to 1968, but only referenced “Muhammad Ali” in about 150. This practice continued well into the 1970’s! But the practice wasn’t even consistent; the media seemed to have no problem referencing “Malcolm X” – even though, at the time, he was still legally “Malcolm Little.”

Muhammad means “One who is worthy of praise” and Ali means “Most high.” The names, as he clearly stated, were symbolic in nature – as all names are. By changing his name, Muhammad Ali honored his outside (i.e., the color of his skin) while also placing emphasis on the inside (i.e., his talent and his beliefs). He also gave the world tools to focus on the inside and to become more intimate. Sadly, some folks kept themselves stuck on the outside.

Yoga Sūtra 3.7: trayam antarangam pūrvebhyah

– “These three practices of concentration (dhāranā), meditation (dhyāna), and samādhi are more intimate or internal than the previous five practices.”

Patanjali devotes a series of “threads” to the distinctions between internal/intimate and external in order to illustrate that perspective can make something that feels internal feel “external” simply because there is something more “internal.” One great example of this can be illustrated by comparing different types of physical practices of yoga. For instances: A vinyāsa practice (because it is a moving practice) is more “yang” or active than a YIN Yoga practice (in which part of the practice is not moving for what can feel like an incredibly long amount of time). On the flip side, the Primary Series of Ashtanga Yoga can be significantly more “yang” or active than a “Slow Flow” and a Restorative Yoga practice can be significantly more “yin” than a YIN yoga practice.

By the same token, focusing on the breath and the awareness of the breath begins to feel more internal than just moving the body without breath awareness, but the former begins to feel more external when you can concentrate without actively thinking about the fact that you are concentrating on your breath (or anything else). In other words, the object of focus is the “seed” – something tangible and understandable, with a reference point. Then, there is a point in the practice when the focus becomes “seedless” – at which point being “Deeper Inside Makes That ‘Outside’” (which was our thread on Saturday, March 13^th).

Yoga Sūtra 3.8: tad api bahir-angam nirbījasya

– “These three practices are external, and not intimate compared to nirbija samadhi, which is samadhi that has no object, nor even a seed object on which there is concentration.”

In our physical practice, more often than not, we use the breath as our primary “seed.” At first we may simultaneously engage it on multiple levels. After all, we can feel it, we can direct it, and (under the proper conditions) we can see it. Eventually, however, we become absorbed in the experience of breathing and being alive – which is obviously a different experience than actively working with the breath, but it is also a different experience than breathing and living without being aware of the breath. I often think about the breathing (and awareness of breath) of someone like Joseph Priestley, just as I think about the breathing (and awareness of breath) of those three people who left footprints on the side of a mountain in Italy over 350,000 years ago.

On March 13, 2003, Nature Journal published the work of three paleontologists who had identified fossilized footprints (and handprints) as belonging to three homo-genus individuals fleeing the then-actively erupting Roccamonfino volcano. Through those external impressions (embedded deep in the earth), we get an intimate glimpse into a brief moment of their lives. We know two fled the volcano together, one assisting the other. We know about their pace and trajectory, based on the zigzag patterns and the places where it appears one or more supported themselves with their hands. We can use their steps as tools and then, based on our own experiences, move deeper from there.

Joseph Priestley, born March 13, 1733 (according to the Julian calendar) was an 18^th-century English theologian, clergyman, natural philosopher, chemist, educator, liberal political theorist, and a member of the Lunar Circle (also known as the Lunar Society). He is credited with discovering oxygen in its isolated gaseous state (which he considered “dephlogisticated air”). He also inventing soda water – which, he believed, could cure scurvy and which he called “impregnated water.” He also believed science was integral to theology and, therefore, all of his scientific work was a reflection of his liturgical work, and vice versa.

Even though much of what Joseph Priestley believed, scientifically speaking, has been superseded by advancements in technology and science, his work is one of the steps that brought us closer to the knowledge we have now. Think of his phlogiston theories as “seeds” at the beginning of the process. Now, consider, how – having moved beyond that point of understanding – we start anew… and go deeper. (As we did today, March 20^th.)

“Could we have entered into the mind of Sir Isaac Newton and have traced all the steps by which he produced his great works, we might see nothing very extraordinary in the process.”

– Joseph Priestley

This week’s “threads” can be a little hard to take in just from the sūtras themselves. However, the point is to experience them and, once we have experienced them (in context) we realize they are easier to understand. There are some really great analogies related to movement and transition – which is the whole point of these threads – but the one that came to mind today takes us back to the boat analogy.

Take a moment to imagine your breath as a wave, with you floating on your back or floating in a boat. It doesn’t matter if you are lazily enjoying some time off or in a rush to go somewhere. Either way, there are times when you will have to make an adjustment – a course correction, if you will. Sometimes, you have to make big adjustments in order to stay focused; other times, little adjustments. Every now and again, however, there is a moment where you don’t need to make any adjustments or modifications. You don’t have to peddle to stay afloat and you don’t have to steer yourself in the right direction. You are one with the waves, going with the flow and “in the zone.” This is the next level of the Yoga experience.

Yoga Sūtra 3.9: vyutthāna-nirodhah-samskāra abhibhava-prādurbhāvau nirodhah-kşaņa-chitta-anvayah nirodhah-pariņāmah

– “When the vision of the lower Samadhi is suppressed by an act of conscious control, so that there are no longer any thoughts or visions in the mind, that is the achievement of control of the thought-waves of the mind.”

Yoga Sūtra 3.10: tasya praśānta-vāhitā samskārāt

– “When this suppression of thought waves becomes continuous, the mind’s flow is calm.”

The playlist for Saturday, March 6^th (the “Getting Inside or ‘What Is Inside, IV’” practice) is available on YouTube and Spotify. [Look for “09132020 What Is Inside, II”]

The playlist for Saturday, March 13^th (the “Deeper Inside Makes That ‘Outside’” practice) is available on YouTube and Spotify. [Look for “10202020 Pratyahara”]

The playlist for Saturday, March 20^th (the “New Year, New Season” class) is available on YouTube and Spotify.

“Impossible is just a big word thrown around by small men who find it easier to live in the world they’ve been given than to explore the power they have to change it. Impossible is not a fact. It’s an opinion. Impossible is not a declaration. It’s a dare. Impossible is potential. Impossible is temporary.

Impossible is nothing.”

– quoted from a 2004 Adidas ad campaign written by Aimee Lehto (with final tag line credited to Boyd Croyner), often attributed to Muhammad Ali

### RIDE THESE WAVES ###

The wings of “some kind of bird” are not unlike a “face” over “weft” (a Monday post about movement and expressions) February 23, 2021

Posted by ajoyfulpractice in "Impossible" People, Art, Books, Changing Perspectives, Faith, First Nations, Healing Stories, Hope, Lent / Great Lent, Life, Music, Mysticism, One Hoop, Pain, Philosophy, Poetry, Religion, Suffering, Tragedy, Wisdom, Women, Writing, Yoga.
Tags: Dakota, Edna St. Vincent Millay, Gertrude Simmons Bonnin, Homer, Indian Boarding Schools, Lakota Sioux, P. Jane Hafen, Pandit Rajmani Tigunait, Penelope, Robert Frost, shabda, siddhis, Sioux, The Indian Citizenship Act of 1924, Ute, William F. Hanson, Yanton Sioux, Yoga Sutra 2.24, Zitkála-Šá
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Happy New Year! Many blessings to those observing Lent!

[This is the post for Monday, February 22^nd. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support the center and its teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es).) Donations are tax deductible; class purchases are not necessarily deductible.]

Check out the “Class Schedules” calendar for upcoming classes.]

“Having gone many paces ahead I stopped, panting for breath and laughing with glee as my mother watched my every movement. I was not wholly conscious of myself, but was more keenly alive to the fire within. It was as if I were the activity, and my hands and feet were only experiments for my spirit to work upon.”

– quoted from “Impressions of An Indian Childhood – I. My Mother” in American Indian Stories and Old Indian Legends by Zitkála-Šá

Bring your awareness to how we move our bodies – on and off the mat – and to how we shape our bodies. Bring your awareness to the physical practice, which is very much a case of art imitating life (and life imitating art). Consider that said “imitation” occurs through an understanding of the shapes and movements of life. Someone wondered, ‘What happens if I do this? Oh, look at the puppy doing that! I wonder how that would feel if I did it.’ They played, the explored, they experimented… and then they shared the practice that came from that play, exploration, and experimentation.

Even if you just think of the physical practice as movement for the body, you have to recognize that in order to engage the body, you have to also engage the mind – therefore, the practice is a mind-body exercise; it is physical and mental. It is also considered psychic and symbolic, as well as emotional and energetic. Emotional and energetic, I think, are self explanatory, especially as anyone who has practiced has probably experienced some shifting of emotions while and/or as a result of practicing; and the system of movement is based on an Ayurvedic energy mapping system of the mind-body. Just for clarification sake, we can think of psychic as being “[related to abilities] or phenomena that are apparently inexplicable by natural laws; supernormal; and relating to the soul and mind.” It is also important to remember that each pair goes hand – which means that the symbolic aspect of the practice is related to the supernormal aspects of the practice.

What does that mean?

Well, contrary to certain conspiracy theories, it doesn’t mean that people are (trying to) turn themselves into trees (or cobras, camels, eagles, dogs, and God). However, it is possible to embody certain qualities found in trees (or cobras, camels, eagles, dogs, and God). Before anyone gets too excited about the possibility of this being sacrilegious; consider that if you are a Christian who observes Lent, you are engaged in a physical-mental + psychic-symbolic + emotional-energetic “exercise” during which you symbolically place yourself in Jesus’ shoes. In other words, you embody Divine attributes in order to inform a more spiritual life on Earth.

Given this context, there are (of course) a number of poses that immediately spring to mind as being symbolic. Take a moment, however, to consider the trees as well as the forest, the details as well as the big picture. It’s not only the shapes that are symbolic; it’s also the movement that is symbolic. One of the most ancient gestures, one that is literally embedded in our bodies, is the lifting and opening of the heart when we are inspired and the settling into space (into the earth) that occurs when we expire. Yes, as we exaggerate our body’s natural tendencies, we are, in fact, engaging ancient symbolism. Furthermore, the power is not only in the movement; it’s in our understanding and recognition of the movement.

“This unique capacity has enabled us to develop written languages and preserve a vast range of memories pertaining to human experience.”

– commentary on Yoga Sutra 2.24 from The Practice of the Yoga Sutra: Sadhana Pada by Pandit Rajmani Tigunait, PhD

As I have mentioned before, the second of the six siddhis (or supernormal powers) “unique to being human” is shabda (“word” or “speech”), which Pandit Rajmani Tigunait, PhD explains as human’s ability “give a form to sound, assign meaning to each segment of sound, and to store both sound and its meaning in our memory….” and to share that sound and meaning, even in a visual form – like writing or sign language. In a nutshell, shabda is the ability to codify symbols. This power or ability can be funny (e.g., ironic), because we can use words (and get the essence of the meanings) without truly understanding the words. We can also find ourselves using and understanding the symbols, without actually using the words. For example, we can wave at someone and they know we are greeting them – even if we use two hands. However, if we are simultaneously waving both hands and crisscrossing them, then the person knows we are telling them to not come towards us and/or to stop what they are doing. It’s an ancient gesture. Kind of like wiping the sweat off of your brow… or wiping what appears to be a tear from your eye.

Today is the anniversary of two people who lived their lives in between cultures and cultural understanding. Two people who used their superpower of words to communicate what was getting lost in translation. Born today in 1892, Edna St. Vincent Millay was a poet who was considered a bit of a tomboy. Called “Vincent” by her family, friends, and teachers, her talent and her exuberance for life were evident from an early age and in many stories about her life. One such story, which describes both, relates how she was busted for basically hanging from a chandelier after claiming to be sick so that she could get out of a class. The teacher later said to her. “‘Vincent, you sent in a sick excuse at nine o’clock this morning and at ten o’clock I happened to look out the window of my office and you were trying to kick out the light in the chandelier on top of the Taylor Hall arch, which seemed a rather lively exercise for someone so taken with illness.’ Millay responded, ‘Prexy, at the moment of your class, I was in pain with a poem.’” Vincent spoke six languages, made friends with some of the great writers of her time, lived LOUD, and never let someone’s gender stop her from having a great love affair. Of course, some of her great loves ended in great drama and so she wrote about that.

“My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends –
It gives a lovely light!”

– “First Fig” from A Few Figs from Thistles by Edna St. Vincent Millay (published, 1920)

Edna St. Vincent Millay’s talent as an author was recognized at an early age. She wrote blank verse and free verse and everything in between. Her work featured and was inspired by people she encountered in real life, as well as Biblical characters, fairy tales, classical literature. More often than not she captured the spirit of an undiscovered moment and gave people a peek at a different perspective. In 1921, she was basically given carte blanche to travel to Europe and write for Vanity Fair (under the byline Nancy Boyd). The editor’s expectation was, of course, that she would write the kind of poetry the magazine had already published – but there was no actual caveat or stipulation given and she ended up submitting satirical sketches. She also finished a five-act play commissioned by her alma mater, Vassar College. Her bibliography includes six “verse dramas,” including the libretto for the opera The King’s Henchman; short stories; and over a dozen collections of poetry – including The Ballad of the Harp-Weaver, for which she won the Pulitzer Prize in 1923 (becoming the first woman to do so). In 1943, she received the Robert Frost Medal “for distinguished lifetime achievement in American poetry.”

Vincent’s poem “An Ancient Gesture” was published in 1949 in The Ladies Home Journal (volume 66) and would appear in the collection Mine the Harvest after the poet’s death. In relatively few lines, it relates Homer’s Illiad and Odyssey, but with a discerning eye on Penelope rather than Odysseus / Ulysses. The poem describes a movement we have all done and which has been co-opted by politicians and liars since the beginning of humankind. It’s a movement, a gesture, we often take for granted and overlook. Part of the brilliance of the poem is that in describing the toll of taking charge of one’s own destiny, it also highlights the movement that symbolizes that toll and a moment of recognition. Therefore, it highlights a moment of power.

“I thought, as I wiped my eyes on the corner of my apron:
Penelope did this too.
And more than once: you can’t keep weaving all day
And undoing it all through the night;
Your arms get tired, and the back of your neck gets tight;
And along towards morning, when you think it will never be light,
And your husband has been gone, and you don’t know where, for years.
Suddenly you burst into tears;
There is simply nothing else to do.”

– quoted from the poem “An Ancient Gesture” by Edna St. Vincent Millay

Today is also the anniversary of the birth of Zitkála-Šá, born today in 1876 on the Yankton Indian Reservation, Dakota Territory. Her name means “Red Bird” in Lakota Sioux and she described herself as “a wild little girl… with a pair of soft moccasins on my feet, I was as free as the wind that blew my hair, and no less spirited than a bounding deer.” She was born into a tribe that had an early treaty with the United States and, therefore, was not decimated in the same way that some of the other Sioux tribes that were wiped out through direct conflict.

The treaty, however, did not mean that the Yanton Sioux lived in peace and with acceptance from the federal government. At the age of 8 she was, like so many First Nations children, taken by missionaries to a Quaker boarding school in Indiana. Such boarding schools in various parts of North America taught Indigenous children how to read and write English; how to speak, dress, and walk like the English; and how to engage with “polite society.” They were forced to convert to Christianity and to stop speaking the first languages. In other words, the schools’ curriculum was designed to teach the children how not to be Indian.

“There were 60 million American Indians in 1491. In the census, in 1910, there were 200,000. And a lot of that population loss is due to diseases: measles, smallpox, and so forth. For the colonizers who were greedy for Indian lands, there were two ways to get it: Either by killing people or by making them ‘non-Indians.’”

– P. Jane Hafen (Taos Pueblo), Professor Emirata of English, University of Nevada-Las Vegas in a PBS “Unladylike 2020” interview about Zitkála-Šá

Some children became completely divorced from their first family, community, tribes of birth, and heritage. Somehow, however, Zitkála-Šá grew up straddling both the white world and the First Nations world. She was ethnically mixed and would eventual marry another former student of the missionary school (who was also of mixed heritage, although both of his parents were First Nations) and become known as Gertrude Simmons Bonnin. She taught and wrote, and became an activist.

She published articles and essays in the internationally recognized magazines like Atlantic Monthly and Harper’s Monthly and eventually served as editor and contributor to American Indian Magazine, which was published by The Society of American Indians. Much of what she wrote highlighted the trauma and tragedy of the boarding schools and the unfulfilled treaties between the tribes and the federal government. But, she had another agenda, another subversive form of activism. Because of her experiences (in both worlds) and her education (in both worlds), she was able to use what appealed to the European world – their words and their appreciation of literature, dance, and music – preserve the very culture the Europeans where trying to eradicate.

“The old legends of America belong quite as much to the blue-eyed little patriot as to the black-haired aborigine. And when they are grown tall like the wise grown-ups may they not lack interest in a further study of Indian folklore, a study which so strongly suggests our near kinship with the rest of humanity and points a steady finger toward the great brotherhood of mankind, and by which one is so forcibly impressed with the possible earnestness of life as seen through the teepee door! If it be true that much lies “in the eye of the beholder,” then in the American aborigine as in any other race, sincerity of belief, though it were based upon mere optical illusion, demands a little respect.

After all he seems at heart much like other peoples.”

– quoted from the preface to American Indian Stories, Legends, and Other Writings by Zitkála-Šá

In addition to performing at the White House for President William McKinley, Zitkála-Šá published autobiographical essays and short stories based on her tribes’ oral traditions in international magazines like Atlantic Monthly and and Harper’s. She published her first book in 1901, and wrote the libretto and songs for The Sun Dance Opera, the first opera penned by a member of a Native community. The opera, which premiered in 1913, was a collaboration with the white composer William F. Hanson – who, unfortunately, was the only creator credited in the 1938 publicity when the production moved from (way) off-off-off-Broadway (in Vernal, Utah) to The Broadway Theatre.

The original production was performed 15 times (throughout Utah) and featured performers from the Ute Nation alongside white performers. It not only incorporated dance that had been basically outlawed in their original context; it was based on sacred Sioux and Ute healing rituals that the federal government had also banned – even when performed on the reservation. Like her collected stories, the opera was also notable for transcribing and preserving the oral traditions.

Zitkála-Šá was an advocate for Indian civil rights and, in particular, fought for the right of citizenship. Prior to her marriage, she worked at Standing Rock Reservation for the Bureau of Indian Affairs (BIA) for about a year. She and her husband, Army Captain Raymond Talefase Bonnin, worked for the BIA and were stationed at the Uintah and Ouray Reservation in Utah for 14 years. Like her experiences as a boarding school student and teacher, her experiences working for the federal government allowed her to highlight the agency’s systematic problems. She eventually moved to Washington, D. C. and became a lobbyist. She served as Secretary of The Society of American Indians and editor and contributor of the organization’s publication. Her efforts contributed to passage of the Indian Citizenship Act of 1924.

In 1926, the Bonnins co-founded the National Council of American Indians. She served as the council’s president for 12 years. Since Captain Bonnin was a World War I veteran, Zitkála-Šá is buried (as Gertrude Simmons Bonnin) at Arlington National Cemetery.

“As answers to their shallow inquiries they received the students’ sample work to look upon. Examining the neatly figured pages, and gazing upon the Indian girls and boys bending over their books, the white visitors walked out of the schoolhouse well satisfied: they were educating the children of the red man! They were paying a liberal fee to the government employees in whose able hands lay the small forest of Indian timber.

In this fashion many have passed idly through the Indian schools during the last decade, afterward to boast of their charity to the North American Indians. But few there are who have paused to question whether real life or long-lasting death lies beneath this semblance of civilization.”

– quoted from The Atlantic Monthly (vol. 85, 1900) article “An Indian Teacher among Indians” by Zitkála-Šá

There is no playlist for the Common Ground practice.

NOTE: This is a “leftover” day for those celebrating the 15-day Spring Festivals. Some are finishing off literal leftovers. Some fathers are hosting their son-in-laws, but mostly people are getting ready for Day 15.

“Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That all non citizen Indians born within the territorial limits of the United States be, and they are hereby, declared to be citizens of the United States: Provided That the granting of such citizenship shall not in any manner impair or otherwise affect the right of any Indian to tribal or other property.

Approved, June 2, 1924. June 2, 1924”

– quoted from the Indian Citizenship Act of 1924

### PEACE (PEACE) PEACE ###

Funken Leftovers (the “missing” Sunday post & the “leftovers” from 2/9) February 22, 2021

Posted by ajoyfulpractice in "Impossible" People, Art, Faith, Gratitude, Lent / Great Lent, Music, New Year, One Hoop, Religion, Wisdom, Yoga.
Tags: Calendars, Colonel "Tom" Parker, Earl Wilson, Ed Sheeran, Ed Sullivan, Elvis, Fred Kaps, Funkensonntag, George Harrison, Hokkien, Jack Paar, Jade Emperor, Johnny Carson, Julia Nixon, Kitchen God, Lunar New Year, Meredith Wilson, Mike Love, Nina Simone, Randy Paar, Swami Vivekananda, The Beatles, Tricia Nixon, Walter Cronkite
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Happy New Year! Many blessings to those celebrating the Jade Emperor’s birthday and/or observing Lent!

[This is the post for Sunday, February 21^st (with information relevant to February 9^th and a reference to February 17^th). You can request an audio recording of Sunday’s practice (or the February 9^th practice) via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

Check out the “Class Schedules” calendar for upcoming classes.]

“I want a little sugar in my bowl
I want a little sweetness down in my soul
I could stand some lovin’, oh so bad
Feel so funny, I feel so sad”

– quoted from the song “I Want A Little Sugar in My Bowl” by Nina Simone

Before I ask what you do with leftovers, or things left over from previous seasons, it might be prudent to ask how you feel about leftovers (and things left over from previous seasons). Because, while some people are quick to repurpose leftovers; some people (hello, brother) can’t stand leftovers. Then there are people who love leftovers, and may even prefer leftovers to the first serving. There are people who take leftovers for granted and people who are grateful for the abundance that leads to leftovers. So, yes, it might be prudent to ask how someone feels about leftovers (and things left over), because that informs how attached they are and what actions come from that attachment (even when it’s aversion).

The tenth day of the Lunar New Year is, for those who celebrated the Jade Emperor’s birthday, a day that is all about leftovers. Some traditions view the Jade Emperor as the creator and/or ruler of heaven and earth, whose origins are beyond the physical; however, in some traditions, it is believed that the Jade Emperor was originally a (real) man who took away the suffering of others.

According to one set of stories, the Kitchen God leaves the kitchen alter just before the New Year and returns to heaven in order to give the Jade Emperor an accounting of each household’s activities during the previous year. In the final days of the old year, people will clean up their homes – so the alter(s) will be ready for the return of the gods and ancestors – and, sometimes, smear honey on the lips of the Kitchen God so that his report is extra sweet. Then the Kitchen God and other household gods return on the fourth day of the New Year.

I always imagine that some years the Kitchen God’s report is really, really, wild. Take last year’s report for instance – or the last few years – or the report from the Year of the (Water) Rabbit that coincided with January 25, 1963 – February 12, 1964 (on the solar calendar).

In 2014, the first time I led a practice associated with leftovers from the Jade Emperor’s birthday celebration, the tenth day of the Lunar New Year coincided with February 9^th on the solar calendar – so, I decided to incorporate the idea of the Kitchen God’s report. Specifically, I mentioned the wild report from that (Water) Rabbit year… you know, that year when there was a bit of mania all over the world and an invasion that moved across the pond: by that I mean Beatlemania and the British Invasion.

“First of all I want to congratulate you: You’ve been a fine audience, despite severe provocation.”

– quoted from Ed Sullivan’s remarks at the conclusion of The Ed Sullivan Show on February 9, 1964

The Beatles appeared on the Ed Sullivan Show on two consecutive Sundays (February 9^th and February 16^th, 1964). Of course, they had already made an impression in the United Kingdom and, towards the end of 1963, there were some North American radio stations that had played their music and a couple of times when prerecorded footage had appeared on television. Notably, Walter Cronkite and Jack Paar had both shared prerecorded footage with their audiences. But, it was Ed Sullivan that brought the lads to the United States and had them perform live, in front of a studio audience – a studio audience that, for all intensive purposes, was hysterical with excitement.

I say, as many people say, that the crowd was hysterical with excitement – one could even say that they were out of control. However, it’s important to note that before the first song, Ed Sullivan made the audience promise to reign in their enthusiasm when he was making introductions – and they did (even though he sometimes had to remind them of their promise). Mr. Sullivan soliciting that promise from the audience wasn’t random. Remember, he had some previous experience with this kind of audience; after all, he hosted Elvis three times, starting on September 9, 1956.

Before the first set in 1964, Ed Sullivan actually mentioned that Elvis and Colonel “Tom” Parker sent a telegram wishing the British group “a tremendous success in our country.” The Beatles started off by playing three songs: “All My Loving;” “Till There Was You” (a show tune written by Meredith Wilson in 1950 and then used in the 1957 musical The Music Man, which was made into a movie released in 1962); “She Loves You.” During the performance of “Till There Was You,” Paul, Ringo, George, and John were each featured in a close up with their names underneath. Ringo can be seen mumbling a comment to George, who seemed to get the biggest display of excitement. Of course, that excitement was only rivaled by the audible sounds of disappointment when John’s picture and name included the words, “SORRY, GIRLS, HE’S MARRIED:”

After the first set, Ed Sullivan said that the first three songs were dedicated to Johnny Carson, Randy Paar (who he mentioned with a directional gesture), and Earl Wilson. On the surface, it was an odd grouping of people. Randy Paar was Jack Paar’s 14-year old daughter. She attended the performance as Ed Sullivan’s guest and brought along then former Vice President Richard Nixon’s daughters, Tricia and Julie. (There were a couple of times throughout the show when the camera focused on what I believe was the excited trio.) Johnny Carson was Jack Paar’s successor as host of The Tonight Show and Earl Wilson was a journalist. Part of what made the dedication so odd was that Jack Paar and Ed Sullivan had a contentious rivalry that started when Mr. Paar was hosting The Tonight Show and continued into the premiere of The Jack Paar Program (in 1962). Some would say the animosity increased when Jack Paar insisted that his show was the first United States variety show to televise The Beatles (back in December 1963) – but, of course, that footage wasn’t live. When questioned about the dedication, 14-year old Randy said that it was essentially an olive branch on Ed Sullivan’s part** (a claim, I find highly suspect after watching the footage again).

Before the second set, there was an Anacin pain reliever commercial and a five minute act by a world class, prize-winning magician named Fred Kaps – the only magician in the world to win the Fédération Internationale des Sociétés Magiques (FISM) Grand Prix three times. He was also inducted into the Society of American Magicians (SAM) Hall of Fame. Even if you’re not a magic aficionado, you have probably seen people perform some of the tricks he created and/or made famous, including: color-changing silks, the “long-pour” salt trick, and the “Dancing and Floating Cork” (which you could only purchase after signing a contract promising not to reveal the mechanics of the trick). Mr. Kaps interspersed humor and exaggerated facial reactions and mannerisms with his tricks and, by all accounts, he was his usual amazing self on February 9, 1964. But, what people would remember (as the Kitchen God would have reported to the Jade Emperor) was The Beatles.

Ed Sullivan reminded the audience that The Beatles would be back the previous weekend, but his actually introduction of the band was “Once again….” The second set featured “I Saw Her Standing There” and “I Want to Hold Your Hand.” That’s it. All in all the two segments, including introductions; the round of handshakes; and Ed Sullivan expressing gratitude to the New York Police Department – plus the newspapers and magazine writers and photographers – lasted a little under 15 minutes. But, based on the expressions on people’s faces and the way some of the men were wiping the sweat off of their brows, it was an overwhelmingly warm and visceral 15 minutes.

“This is a magnificent building… but I think the roof is leaking.”

– FISM Grand Prix Champion Fred Kaps, when he worked up a sweat during a performance

“Now, I’m delighted – all of us are delighted – and I know The Beatles on their first appearance here have been very deeply thrilled by their reception here. You’ve been fun. Now get home safely. Good night!”

– quoted from Ed Sullivan’s remarks at the conclusion of The Ed Sullivan Show on February 9, 1964

One thing I should point out is that my Day 10 playlist in 2014 wasn’t The Beatles playlist from 1964. Instead, it was the “leftovers” – or, what one might call “B-sides.” Similarly, in 2016, the Year of the (Fire) Monkey, the tenth day of the Lunar New Year fell on February 17^th, Ed Sheeran’s birthday and so the playlist featured what might have been “B-sides” if, you know, musicians still released 45s. In 2018, we were back to The Beatles – sort of; since the 10^th day of the Year of the (Earth) Dog fell on February 25^th, George Harrison’s birthday. (Serendipitously, I came across Mike Love’s tribute to George, “Pisces Brothers,” just as I was putting together the appropriate tracks.)

This year, the tenth day of the Lunar New Year coincides with the anniversary of the birth of a Pisces Sister. Born today in 1933, Eunice Kathleen Waymon was known to the world as the incomparable Nina Simone. Ms. Simone was a singer, songwriter, composer, and arranger, as well as a civil rights activist. Her music doesn’t fit neatly into one genre box; as she created music that could be considered blues, classical, folk, gospel, jazz, pop, and R&B. Then there were her activist songs. Nina Simone, it seems, could turn any situation into a song and, in doing so, became one of the most compelling voices of the Civil Rights Movement.

It would be understandable, given her range and talent, that this year’s playlist would be overflowing with Nina Simone songs. However, as sweet as it is, there is only one Nina Simone song on Sunday’s playlist. This year her birthday not only falls on the tenth day of the Lunar New Year, but also on the first Sunday of Lent in the Western Christian tradition. When so many different calendars overlap, I contemplate how I can integrate them and then, in some ways, prioritize elements based on several different considerations – including what is most directly tied to the Yoga Philosophy. The single Nina Simone track on today’s playlist ties back into the Hokkien legend and is a reminder to give thanks for whatever sweetness we are given.

“I want some sugar in my bowl, I ain’t foolin’
I want some sugar
In my bowl”

– quoted from the song “I Want A Little Sugar in My Bowl” by Nina Simone

In Belgium, northern France, and parts of Germany and Switzerland, the first Sunday of Lent is referred to as Funkensonntag. Sometimes translated as “Spark Sunday” or as “Bonfire Sunday,” it is a day when people build Lenten (bon)fires in order to burn their Christmas trees and other debris left over from winter. Effigies of the Winter Witch and Old Man Winter are also tossed into the bonfires and thus the tradition becomes a way to welcome – even hasten – the arrival of Spring.

Errata: Just as it is in the Western tradition, the Sunday before Ash Wednesday is part of Shrovetide in the Eastern Christian tradition – people just use a different calendar. Sometimes the calendars overlap so that the Lenten seasons are exactly a week apart. Unfortunately, I mixed up my calendars this year and erroneously referred to this Sunday as the Sunday before Lent in the Eastern tradition. However, this year Shrove Sunday, also known as “Cheesefare Sunday” and “Forgiveness Sunday” will coincide with March 14^th (on the secular calendar). Please accept my apologies for the confusion.

One final note, even though I mixed up the calendars. Some within the Eastern Christian communities refer to Shrove Sunday as “Forgiveness Sunday” and there is an extra emphasis on fasting, prayers, and letting go of past transgressions, sins, animosity, and rivalries. (**Hmm, so even though I’m not sure how observant he was, I might have to give Ed Sullivan a break. He was Roman Catholic of Irish descent and exposed to a lot of different cultures. More to the point, Sunday, February 9^th was Shrove Sunday in 1964 – so maybe he really was asking for and offering forgiveness with his dedication.)

“Think of a space in your heart, and in the midst of that space think that a flame is burning. Think of that flame as your own soul and inside the flame is another effulgent light, and that is the Soul of your soul, God. Meditate upon that in the heart. Chastity, non-injury, forgiving even the greatest enemy, truth, faith in the Lord, these are all different Vrittis. Be not afraid if you are not perfect in all of these; work, they will come. He who has given up all attachment, all fear, and all anger, he whose whole soul has gone unto the Lord, he who has taken refuge in the Lord, whose heart has become purified, with whatsoever desire he comes to the Lord, He will grant that to him. Therefore worship Him through knowledge, love, or renunciation.”

– quoted from “Chapter VIII: Raja-Yoga in Brief” in The Complete Works of Swami Vivekananda, Volume 1, Raja-Yoga by Swami Vivekananda

The playlist for Tuesday (2/9) is available on YouTube and Spotify.

The playlist for Sunday (2/21) is available on YouTube and Spotify.

“You’ve got to learn to leave the table
When love’s no longer being served”

– quoted from the song “You’ve Got to Learn” by Nina Simone

### DON’T BE GREEDY, BE GRATEFUL ###

What Happens When We Practice Santosha? (the Sunday Post) February 9, 2021

Posted by ajoyfulpractice in Art, Books, Buddhism, Changing Perspectives, Confessions, Depression, Faith, Gratitude, Healing Stories, Hope, Life, Loss, Love, Music, Mysticism, One Hoop, Pain, Peace, Philosophy, Suffering, Wisdom, Writing, Yoga.
Tags: Billy Joel, Christopher Isherwood, Ed McCurdy, Garth Brooks, George Michael, Laura Ingalls Wilder, Matthieu Ricard, santosha, Sinclair Lewis, Swami Prabhavananda, Tami Simon, The Rolling Stones, Trisha Yearwood, Yoga Sutra 2.42, yoga sutras
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[This is the post for Sunday, February 7^th. You can request an audio recording of Sunday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

“It is well worth analyzing the circumstances of those occasions on which we have been truly happy. For as John Mansfield says, ‘The days that make us happy make us wise.’ When we review them, we shall almost certainly find that they had one characteristic in common. They were times when, for this or that reason, we had temporarily ceased to feel anxious; when we lived – as we so seldom do – in the depths of the present moment, without regretting the past or worrying about the future. This is what Patanjali means by contentment.”

– quoted from How to Know God: The Yoga Aphorisms of Patanjali (2:42), translated and with commentary by Swami Prabhavananda and Christopher Isherwood

Over the last few years, and especially over the last twelve months, I think that we have all experienced the highs and lows of life. We have experienced some joys; and also a lot of things not going our way and people not acting in a way we believe is appropriate. And, we can point to all these things as the source of our frustration, anger, fear, and disappointment, as well as the source of our loss and grief and sorrow. Everyone I know has lost someone in the last year – and we have also lost a way of doing things and living life… we’ve even lost, in some ways, the way we grieve and deal with the loss of those we love. While we can, for sure, connect to certain things (specifically things not going our way and people not behaving “appropriately”) to our suffering, the Eastern philosophies clearly state that is not the external factors that cause our suffering: it is the internal factors; our attitudes and our attachments.

In both the Yoga and Buddhist philosophies, suffering is caused by attachment. Patanjali includes two kinds of attachment in his short list of afflicted/dysfunctional thought patterns: attachment rooted in pleasure (which we just call attachment) and attachment that is rooted in pain (which we call aversion). We can think of these as things we like and things we don’t like – or even people we like and people we don’t like, or the behavior we like and the behavior we don’t like. But, whether the attachment is rooted in pleasure or pain does not matter. Because, according to Patanjali, both are tied to the other three forms of afflicted/dysfunctional thought patterns: ignorance to the true nature of things; a false sense of self; and fear of loss or death. Over the last few years, but this last year in particular, we have all been confronted by our ignorance – even when we didn’t realize it.

If you are anything like me, once you know a solution to a problem you want to start fixing the problem. But letting go of what we like and dislike – especially when those likes and dislikes define us – is easier said than done. There is a definite practice of non-attachment and also a practice of detaching, but both can feel a little like giving up pleasure. Who wants to do that? Neither do we necessarily see the benefit of giving up what we don’t like when, in our minds, we believe we are working to avoid the things that cause us pain by staying away from certain things and people. And, who wants to stop avoiding things and people we “can’t stand” or associate with suffering? That sounds like bringing in more pain and more suffering. Who’s going to volunteer for that?

But, what if part of the practice immediately changes the way you feel? What if there were one or two things that you could do in any given moment that would change your attitude and engagement in the moment? What if those one or two things are things you normally do when things are going your way (or even better than expected) – and what if you realized that doing those one or two things was not dependent on external factors?

“Logically, there is no reason why contentment should cause happiness. One might – if one had never experienced it – reasonably suppose that an absence of desire would merely produce a dull, neutral mood, equally joyless and sorrowless. The fact that this is not so is a striking proof that intense happiness, the joy of Atman [the Soul], is always within us; that it can be released at any time by breaking down the barriers of desire and fear which we have built around it. How, otherwise, could we be so happy without any apparent reason?”

– quoted from How to Know God: The Yoga Aphorisms of Patanjali (2:42), translated and with commentary by Swami Prabhavananda and Christopher Isherwood

“You don’t start by the action; you start by the motivation, and motivation is something that can be cultivated…..

It is the inner quality that you need to cultivate first, and then the expression in speech and action will just naturally follow. The mind is the king. The speech and the activities are the servants. The servants are not going to tell the king how it is going to be. The king has to change, and then the other ones follow up.”

– Matthieu Ricard, speaking about generosity and other mental attitudes in a 2011 Sounds True interview with Tami Simon, entitled “Happiness is a Skill”

Studies show that gratitude, giving thanks (or even just thinking about things for which you could be grateful) changes the mind-body. Of course, with all that’s gone on this last year, it would be easy to forget to express gratitude. You may have even forgotten what it feels like to feel grateful. Consider, however, that being grateful is not about the external factor. It is all about your feelings toward a person, place, thing, and/or experience. Gratitude is all about appreciation. It is about acknowledging the benefit or merit of something or someone. Even if it is something small, I would encourage you to be very specific about that for which you are grateful. That’s one little thing you can do that can make a big difference.

A second thing you can do, to change your attitude and engagement in the moment, is to practice santoşā (“contentment”), which is the second niyamā (“internal observation”) in the Yoga Philosophy (or, today, you can think of it as the Number 7 in the philosophy’s list of ethics). In sūtra 2.42, Patanjali explains, “From contentment comes happiness without equal.” In his commentary, the 5^th century sage Vyasa said, “‘All sensual pleasures in the world and the great happiness in heaven combined do not equal even one-sixteenth of the joy that arises from the elimination of craving.’” This, of course, sounds like something for which we would all sign up: unsurpassed happiness and joy.

Part of the problem, however, is that humans are sensual beings. The other part of the problem is that there’s a part of our minds that is prone to judging. So, while it is natural that our bodies and minds crave sensation, it is also natural that from a very early age, we learn to categorize the sensations as good or bad, pleasurable or not pleasurable: things we like and things we don’t like. Then we proceed to build a life full of what we like and empty (as much as possible) of what we don’t like.

But, that’s not how life works. Inevitably, things don’t go our way; people don’t behave the way we want or expect them to behave; we don’t get some of what we want; and we get some of what we don’t want. And, along the way, we experience suffering. We may even lose sight of what we need; because we are so caught up in what we want and don’t want.

“I miss your smile
Seems to me the peace I search to find
Ain’t going to be mine until you say you will
Don’t you keep me waiting for that day
I know, I know, I know you hear these words that I say”

– quoted from the song “Waiting for the Day” by George Michael

“You can’t always get what you want
But if you try sometime you find
You get what you need”

– quoted from the song “You Can’t Always Get What You Want” by The Rolling Stones (which is sampled in George Michael’s “Waiting for the Day”)

All year, people around the world have struggled when faced with the conflict between socially distancing recommendations and their religious and/or family traditions and rituals. Some people took a good hard look at what mattered most to them – what was required or needed to fulfill a commandment or tradition – and decided they could observe virtually or socially distanced in a way that did not compromise their faith. Other people took a good hard look and decided there was no compromise that would satisfy the requirements of their faith or their family. Some people just decided they weren’t willing to compromise. Everybody suffered; but some folks suffered more than others.

While I can’t speak for everyone, I know that some folks in the first group were satisfied, content, when everything was said and done. They were happy, given the circumstances. Some of the people in the second group endured additional hardships, either because others didn’t agree with their position; people got sick (and died); and/or it still didn’t feel like normal. The same is also true, maybe even more so, for the people in the final group.

I’m not implying here that if you “follow all the rules” (some of which were not made by you) that no one in your circle with get sick, no one in your life will ever die, and you will never experience any hardship. That’s not even close to what I’m saying. Instead, what I am pointing out is that during a time of great hardship, our attitude and engagement of the moment can change our level of suffering during the hardship. Even more importantly, as studies have shown that we all have a baseline for happiness and that that baseline can change (either because of our practices or because of additional hardships), how we are enduring this present moment will play a part in how we experience the next moment… which, unfortunately, may include more things not going our way and more people not behaving the way we think is appropriate.

Here’s a little story, about a little thing that caused me a little frustration and grief. Remember, it’s a little thing, just a little thing, but it’s not the details that are important – it’s the moral.

“I’m shameless, I don’t have the power now
But I don’t want it anyhow
So I’ve got to let it go”

– quoted from the song “Shameless” by Billy Joel, covered by Garth Brooks

For months now, I’ve been thinking about February 7^th and how, as a Garth Brooks fan, I like to celebrate the day, his birthday, with a Garth Brooks playlist. Now, keep in mind that I’ve been a country music fan all my life and became a Garth Brooks fan pretty much as soon as he started playing concerts outside of Oklahoma. My adoration and pleasure of a good country song has not diminished over the years, despite the sometimes problematic relationship that Black fans like myself have with an industry that is not only predominantly white on stage, but also predominantly white in the lyrics and in the audience.

But, just to be clear, this music is part of my history and part of my heritage – and, more importantly, Garth (born 2/7/1962 in Tulsa, Oklahoma) has never let me down. We may not agree on everything, but he has created an atmosphere of inclusivity (on stage and off) that means I have never had to worry about what’s going to happen when I show up for a concert (which I always do) and I have never not sung along with a song because the lyrics are borderline (or over the line) racist or misogynistic. He’s a great storyteller and a great performer, which means that I know I can (and have) taken anyone to a Garth concert and, regardless of their musical preference, they will have a good time. I appreciate that he’s a music fan as well as a music maker. I also appreciate his love of baseball and his philanthropic endeavors that support kids playing sports. And, yes, I get a kick out of the fact that he calls his wife, “Miss Yearwood.”

You can say it’s all an act, and that’s fine, it doesn’t change the impact. Words and actions matter.

Part of the reason I love Garth’s music is that I can, as some of my friends can attest, find a Garth song for every occasion and every story. Up until quarantine, almost every one of my class playlists included at least one Garth song. The obvious exceptions to that rule are the playlists for the end of the month of Ramadan, playlists for the High Holidays in Judaism, International Women’s Day, and any day celebrating the birthday of another musician or composer. So the fact that “my sweet man” (as some of my friends and I call him) shares a birthday with Laura Ingalls Wilder (b. 1867, in Pepin Country, Wisconsin) and Sinclair Lewis (b. 1885, in Sauk Centre, Minnesota) just meant that I got to tell the story of a “Hard Luck Woman” – “[Who’s] Every Woman” – and talk about what life was like down on “Main Street” – especially when you realize the blessing of “Unanswered Prayers.”

But I knew, months ago, that this year would be different. Because Garth Brooks has a definite aversion to streaming platforms like Spotify and YouTube, I’ve had to cut much of his music out of my playlists. I’ve also had to figure out a way to get certain messages across with different music. Sometimes, I appreciated the fact that a song recorded by one of the original songwriters still fit in the playlist, and I definitely snuck on a little sing-a-long with the Muppets. I also included a tribute band cover here or there; but it wasn’t the same. And, it’s been consistently frustrating to realize that while “Last Night I Had the Strangest Dream” has been sung in almost 80 languages and recorded in English by over 50 people or groups, very few people have included “women” in Ed McCurdy’s classic. (Even though, in my opinion, art imitates life and you actually have to work harder to just include “men.”)

So, even though, it’s a little, trivial, frivolous thing… it was causing me grief. I mean, I taught for almost 10 years before the 7^th fell on a day when I taught, but it wasn’t a cultural or religious holiday! So, selfishly, I wanted to have a little bit of (my) normal.

I thought about taking the day off. I thought about chucking my ethics for the day. Then I decided to take a deep breath, let go of my attachments, get a good night sleep and wake up with the intention of teaching a class that would satisfy people and that they would appreciate.

But, a funny thing happened in the morning: Garth was on YouTube and Garth was on Spotify. It was just one song – a song I don’t always appreciate when it’s covered or adapted, but I appreciated it on this day. One song, but it’s a song that tells a story… and, ultimately, it’s a story about longing and fear and going deeper.

“I’m falling
In all the good times I find myself
Longin’ for change
And in the bad times I fear myself”

– quoted from the song “Shallow” by Bradley Cooper and Lady Gaga, covered by Garth Brooks and Trisha Yearwood

Sunday’s playlist is available on YouTube and Spotify.

“Mr. Midnight, alone and blue
The brokenhearted call me up when they don’t know what else to do
Every song is a reminder of the love that they once knew
I’m Mr. Midnight, can I play a song for you?”

– quoted from the song “Mr. Midnight” by Garth Brooks

### LOVE ALWAYS WINS ###

Today, 1959 (the Wednesday post about the music that died) February 5, 2021

Posted by ajoyfulpractice in Art, Confessions, Faith, Healing Stories, Health, Hope, Minnesota, Music, One Hoop, Philosophy, Science, Suffering, Tragedy, Yoga.
Tags: Bill Griggs, Buddy Holly, Dion DiMucci, Dr. Mike Miller, J. P. "The Big Bopper" Richardson, Jay Mueller, John Mueller, Lenny Kaye, Michael Franti, music, Pamela Huey, Ritchie Valens, Roger Peterson, Spearhead, Tommy Dee, Val Willingham, Waylon Jennings
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[My apologies for this very late Wednesday the 3^rd post. You can request an audio recording of Wednesday’s practices via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes. *** DON’T FORGET THERE’S A “FIRST FRIDAY NIGHT SPECIAL! ***]

“Everyone deserves music, sweet music”

– quoted from the song “Everyone Deserves Music” by Michael Franti & Spearhead

“For years, [Dr. Mike Miller], a research cardiologist, has been studying the effects of happiness — or things that make people happy — on our hearts. He began his research with laughter, and found watching funny movies and laughing at them could actually open up blood vessels, allowing blood to circulate more freely.

Miller thought, if laughter can do that, why not music? So, he tested the effects of music on the cardiovascular system. ‘Turns out music may be one of the best de-stressors — either by playing or even listening to music,’ said Miller.

The setup was basically the same as with the laughter study: Using high-tech imaging, Miller measured blood vessel size as people listened to music.

The results did not surprise Miller. ‘The inner lining of the blood vessel relaxed, opened up and produced chemicals that are protective to the heart,’ he said.

But when participants listened to music they didn’t particularly enjoy, Miller said, ‘the vessels actually began to close up.’”

“But be careful what you listen to. Whether you like Beyoncé or the B-52s, Chopin or Johnny Cash, Miller found that listening repeatedly to the same tune diminished the music’s effects on the body. ‘You just don’t get that boost if you listen to the same song over and over again,’ he said. ‘You need to vary your songs, so when you hear the song fresh, it brings back the sense of joy and opens up the system.’”

– quoted from a 2009 CNN Health segment entitled, “The power of music: It’s a real heart opener” by Val Willingham, CNN Medical Producer

From Dr. Oliver Sacks to Dr. Teppo Särkämö and from Arthur C. Clarke to Friederick Nietzsche, medical practitioners, researchers, authors, philosophers, and anthropologists have shown that music affects us in multiple ways. It can touch our minds and hearts – and change our hearts and brains; it can change our moods; it can tell our stories; and it can affect our bodies on multiple levels. We may not all agree on what we like (or even what constitutes “music”), but it is hard to deny the benefit of music in general.

But, what if there was no music? What if it just stopped, or ceased to be? What if it died?

How long would you carry the music in your heart and your mind? How long would you carry it in the muscles of your body? Would you experience great longing? Would you be inspired to make more music?

I ask these questions not to be overly deep, but because today (February 3^rd) is “The Day the Music Died.” It is the day in 1959 when a plane carrying Buddy Holly, Ritchie Valens, and J. P. “The Big Bopper” Richardson crashed just outside of Clear Lake, Iowa. The three stars and the pilot, Roger Peterson, all died in the crash that happened as they were traveling to Moorhead, MN.

The three singers were young and successful. Holly was 22 and a newlywed expecting his first child. Valens was 17. At 28, “The Big Bopper” was the oldest of the three chronologically, but had started writing and singing later than the others. He had already made a name for himself as a Texas DJ and was capitalizing on his earlier success. He had a wife, a daughter, and another child on the way. (Peterson, 21, was also married.) All three of the singers were popular on the charts, had hit singles, and were on the precipice of even more greatness.

The accident happened during the “Winter Dance Party” tour, which featured the three stars plus Buddy Holly’s band, the Crickets, and Dion and the Belmonts. The Crickets, at the time, consisted of Waylon Jennings, Tommy Allsup, and Carl Bunch, with Frankie Sardo has an opener for Holly. Dion and the Belmonts were Dion DiMucci, Angelo D’Aleo, Carlo Mastrangelo, and Fred Milano. In my theatre days, we would have called the tour “snake bit,” but the musicians had a more specific moniker: “the tour from hell.”

“[Holly historian Bill] Griggs, who long ago moved to Holly’s home town of Lubbock, Texas, from Connecticut, estimates they had used five different buses before driving into Clear Lake – ‘reconditioned school buses, not good enough for school kids.’

The tour started in Milwaukee on Friday, Jan. 23, 1959. It then zig-zagged during the next 11 days from Wisconsin to Minnesota to Wisconsin to Minnesota to Iowa to Minnesota to Wisconsin to Iowa to Minnesota.

There were no roadies to help set up and pack up, and only icy two-lane highways to get from town to town.”

– quoted from the February 3, 2009 Star Tribune article entitled, “Buddy Holly: The tour from hell – The story of the long, cold nights on the road before the Day the Music Died, 50 years ago.” by Pamela Huey

Typically on a bus and truck tour, the order of venues is based on proximity, i.e. geographical nearness in space and time. A group might perform more than one show in a day, but those shows would typically be in the same venue. Typically, at least on the tours I did back in the day, the artists have a little down time between being on the road and actually performing (and vice versa), because the crew has to unload, set-up, and then after the performance breakdown and load out. But these things didn’t happen on the “Winter Dance Tour” of 1959.

To add to the abnormality of it all, it was super cold, snowy, icy, and windy. The temperature swung from 20° F (-7° C) to -36° F (-38° C) – and the buses weren’t always heated. At least one bus, the one between the ninth show (in Duluth, MN) and the tenth and eleventh shows (in Appleton and Green Bay, Wisconsin) was not only not heated, it broke down; leaving the musicians stranded on the side of the freezing cold road – trying to stay warm with blankets and a trash bonfire made out of newspapers. Then, they had to perform. Carl Bunch, Buddy Holly’s drum at the time, had frostbite on his feet. J. P. “The Big Bopper” Richardson had the flu. And, to add to all that, Buddy Holly was bickering with his manager.

Everyone was tired, cold, and frustrated – but they still had shows… and the show must go on.

The twelfth show, the show in Clear Lake, Iowa, was not on the original schedule. It was scheduled by Holly’s manager when the musicians arrived in Clear Lake on Monday, February 2^nd. Which just added to the headliner’s frustration – especially since the thirteenth show, in Moorhead, MN, would require them to drive 365 miles, passing by the previous two stops along the way. Fed up, Buddy Holly decided to charter a plane from the Iowa venue (the twelfth show) to the next Minnesota stop (the thirteenth show). He was going to cover himself and his band, and was willing to split the cost with any of the other musicians that wanted to skip the road trip, and possibly have time to sleep in some place warm and soft instead of in a cold bus seat).

Dion DiMucci said he couldn’t afford the $36 for him and the Belmonts. He was later quoted as saying that the cost was the same amount as his parents paid in rent in New York; so, ultimately, he couldn’t justify the expense. During the investigation into the crash, DiMucci gave a slightly different explanation of how things transpired than Jennings and Allsup; however, the most accepted sequence of events is that: (1) As an act of compassion, since “The Big Bopper” was so sick, Waylon Jennings gave up his seat to the former DJ. (2) Carl Bunch was in the hospital (because of the frostbite) and would be out until the tour swung back to Iowa on February 5^th. (3) Ritchie Valens and Tommy Allsup flipped a coin which, in theory, Allsup lost.

“The next thing I know, Buddy sends me over to get a couple of hot dogs. He’s sitting there in a cane-bottomed chair, and he’s leaning back against the wall. And he’s laughing.

‘Ah,’ he said. ‘You’re not going with me tonight, huh? Did you chicken out?’

I said no, I wasn’t scared. The Big Bopper just wanted to go.

‘Well,’ he said grinning, ‘I hope your damned bus freezes up again.’

I said, ‘Well, I hope your ol’ plane crashes.’

That took me a lot of years to get over. I was just a kid, barely twenty-one. I was about halfway superstitious, like all Southern people, scared of the devil and scared of God equally.

I was afraid somebody was going to find out I said that, and blame me. I knew I said that. I remember Buddy laughing and then heading out to the airport after the show. I was certain I caused it.”

– quoted from “Chapter 2: Buddys” of Waylon: An Autobiography by Waylon Jennings and Lenny Kaye

After the crash, “The Winter Dance” tour went on. Robert Velline (who would make a name for himself as Bobby Vee) was a fifteen-year old singer, songwriter from Fargo, North Dakota, who put together a band called the Shadows, with his older brother and some school friends. They answered a call for talent and performed in Moorhead, MN. Vee would go on to release a single “Suzie Baby” (1959), which was an homage to Buddy Holly’s “Peggy Sue;” release a tribute album (I Remember Buddy Holly (1963); and regularly performed at the Winter Dance Party memorial concerts in Clear Lake, Iowa. Waylon Jennings, Tommy Allsup, and Carl Bunch would all continue, with Jennings eventually singing lead. However, Jennings and Allsup would only continue the tour for two additional weeks. Jennings would ultimately leave Buddy Holly’s guitar and amplifier in a locker at Grand Central Station, and mail the keys to Holly’s widow.

Tragically, María Elena Holly suffered a miscarriage – due to the compounded trauma of losing her husband and finding out about the accident over the radio. Waylon Jenning’s family would also report being traumatized by hearing on the radio that “Buddy Holly and his band had been killed.” Subsequently, public officials decided not to release the names of victims until after the families had been notified.

J. P. “The Big Bopper” Richardson’s son, Jay Perry Richardson, was born two months after the accident. He grew up to become a musician known as “The Big Bopper, Jr.” in honor of his father. For a while, including in 1999, he toured with Jay Mueller, a Buddy Holly impersonator whose tribute show attempted to recreate the 1959 schedule in 1999 (for the 40^th anniversary).

“John Mueller, who plays Buddy Holly in a traveling road show called ‘Winter Dance Party,’ has rare insight into what the ’50s performers endured. In 1999, Mueller and the other musicians tried to replicate ’59 tour. It was the 40th anniversary of the plane crash, and he wanted to honor the ’59 tour by going back to the original cities and original venues.

‘By the time we got to Clear Lake, I had lost my voice, I had lost about 10 to 15 pounds, I was just physically exhausted, as was everybody in the group. The grueling nature of the tour, following the exact geographic routing, it really hit me in the head why they chartered the plane,’ said Mueller, whose group traveled in warm, comfortable minivans.”

– quoted from the February 3, 2009 Star Tribune article entitled, “Buddy Holly: The tour from hell – The story of the long, cold nights on the road before the Day the Music Died, 50 years ago.” by Pamela Huey

I asked the questions: But, what if there was no music? What if it just stopped, or ceased to be? What if it died?

But, we know what we would do because people did it. We carry the music in our hearts and minds. We carry it in the muscles of our bodies and in every fiber of our being. We are inspired to make more music, more dance, more poetry, more stories, and even statues.

There have been many songs, books, movies, reenactment concerts, and even a musical written in honor of the musicians and music that were lost in 1959. Perhaps the most famous tribute song about the three stars is Don McLean’s 1971 hit “American Pie” – which established February 3^rd as The Day the Music Died. I have been told that Madonna covered the song (but if you’ve never heard the original, you’re missing out).

In April 1959, Tommy Dee recorded “Three Stars,” which offers personal glimpses into the singers’ personality and lives. Eddie Cochran, who was friends with Buddy Holly and Ritchie Valens, actually recorded “Three Stars” before Dee recorded it. Tragically, he would be killed in a car accident while on tour in England. He was the only fatality. (I believe his version of “Three Stars was released posthumously.)

Eddie Cochran’s death resulted in another wave of tribute songs, including Waylon Jennings “The Stage (Stars in Heaven),” which was a tribute to the Holly, Valens, “The Big Bopper,” and Cochran. Interestingly, Buddy Holly arranged for Waylon Jenning’s first recording session in December 1958. During that session, Jenning’s recorded his first single, “Jole Blon” – which is sometimes called “the Cajun national anthem” and is on my playlist for the day. It features Buddy Holly and Tommy Allsup, and would be released in March 1959 – so, in some ways, it is also a tribute.

“In a vision I can see, the stars that meant the world to me
Ana din the vision it’s the same as long ago
I see a stage beyond compare and all the stars were settled there”

“We’ve had the final curtain call and if you have seen any of my vision at all
Then you have truly seen, The greatest show of all”

– quoted from the song “The Stage (Stars in Heaven) by Waylon Jennings

Wednesday’s playlist is available on YouTube and Spotify.

(NOTE: The YouTube playlist has the Tommy Dee version of “Three Stars” during the practice and the Eddie Cochran version in the before/after music. The Spotify playlist has Cochran’s version during the practice and Charlie Gracie’s song “I’m Alright,” a tribute to Eddie Cochran, in the before/after music.)

“Look up in the sky
Up toward the North
There are three new stars
Brightly shining forth

They’re shining so bright
From Heaven above
Gee, we’re gonna miss you
Everybody sends their love”

– quoted from the song “Three Stars” by Tommy Dee

IT’S TIME! During tonight’s “First Friday Night Special” (7:15 – 8:20 PM, CST) we will be “observing the conditions” of the heart. This practice is open and accessible to all. Additional details are posted on the “Class Schedules” calendar! The relevant post is coming.

### “YOU KNOW WHAT I LIKE!” ###

“Okay, campers, rise and shine!” (the Tuesday post) February 3, 2021

Posted by ajoyfulpractice in Abhyasa, Art, Books, Buddhism, Changing Perspectives, Faith, Healing Stories, Hope, Karma, Life, Love, Movies, Music, Mysticism, One Hoop, Peace, Philosophy, Religion, Suffering, Vairagya, Wisdom, Yoga.
Tags: Allison Chinchar, Bill Murray, Candlemas, Chris Wilson, Danny Rubin, Groundhog Day, Harold Ramis, Laura Ly, Lily Rothman, Pennsylvania Dutch, Phil Connors, Punxsutawney Phil, Richard Henzel, Rick Overton, Rob White, Ryan Gilbey, Ryan Murphy, Sonny & Cher
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[This is the post for Tuesday, February 2^nd. You can request an audio recording of Tuesday’s practices via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

*** SPOILER ALERT: This post references plot points from the movie and musical Groundhog Day. ***

“Okay, campers, rise and shine, and don’t forget your booties cause it’s cooooold out there today.”

– Richard Henzel as “DJ #1” in the movie Groundhog Day

“‘I read it,’ says [Bill] Murray, ‘and I thought it was just extraordinary because at it’s core it really said something: It was an interpretation of the myth about how we all repeat our lives because we’re afraid of change. I thought it could just be the funniest thing ever.’”

– quoted from the February 7, 1993 article, Bill Murray and the Beast Filming “Groundhog Day” Turned Out To Be A Nightmare For The Actor. His Furry Co-star Had A Hankering For His Blood. by Ryan Murphy, For The Inquirer

A stage manager and a hardware store owner walk into a yoga studio. The hardware store owner asks, “What’s the difference between a rut, a groove, and a rake?” The yoga teacher says, “Perspective.”

OK, so, that’s not exactly how the conversation went, but it’s pretty close. For those of you who don’t work in theatre, hardware, construction, and/or architecture, a rake is the incline on an old fashioned stage that makes the back of the stage (or the end farthest from the audience) “upstage” and is the same type of incline that places the back of the audience up higher than the seats closest to the stage. It allows people to see the full range of action. Of course, “rut” and “groove” are both words used to describe a deep track in the earth (or a record album) that is also used to describe an ingrained habit – although the former has a negative connotation, while the latter is considered more desirable.

Ultimately though, all three words, describe something that requires a certain degree of effort to get from the bottom to the top. The thing is, if you are (habit-wise) in a groove, you may not have a desire or a reason to get out of the groove. If you are on a rake, you want to be downstage (because that is typically where the action is) and you want to make sure no one is “upstaging you.” Finally, if you are in a rut, you may find that getting out of it may take more energy than you are putting into things. You could be like Sisyphus, pushing the rock up the mountain for all eternity. Or, maybe, like Phil Connors, you just don’t know how to get out of the situation you’re in.

Phil: “What would you do if you were stuck in one place and every day was exactly the same and nothing that you did mattered?”

Ralph: “That about sums it up for me.”

– Bill Murray as “Phil Connors” and Rick Overton as “Ralph” in the movie Groundhog Day

In the 1993 Harold Ramis movie Groundhog Day (as well as in the musical of the same name), Phil Connors is malcontent weather man who travels to Punxsutawney, Pennsylvania for the annual Groundhog Day celebrations. He clearly would rather be anywhere but where he is; however, he’s a professional. He shows up on February 1^st, along with Larry the cameraman (played by Chris Elliot in the movie) to do his job. He wakes up on February 2^nd, does his duty and then goes to bed, looking forward to getting up in the morning and getting out of Dodge. The only problem, the one even Punxsutawney Phil couldn’t have predicted, is that when he wakes up the “next morning” it’s still February 2^nd – Groundhog Day!

This happens again and again to Phil Connors. Much to his annoyance, no one else he encounters seems to notice the time loop. Not Larry the cameraman; not Rita (played by Andie McDowell in the movie); not Ralph (played by Rick Overton in the movie) – and definitely not the so-excited-to-see-him Ned Ryerson (played by Stephen Tobolowsky in the movie). Not only does no one else notice that Groundhog Day is happening again and again, most everyone else is excited: It is, after all, a big day for the little town.

“Well, it’s Groundhog Day… again.”

– Bill Murray as “Phil Connors” in the movie Groundhog Day

The annual observation of Groundhog Day is based on a Pennsylvania Dutch superstition that if a badger (or a bear or a fox, depending on the region) saw its shadow on February 2^nd, there would be four (now six) more weeks of winter. February 2^nd was significant to the original observers, because it is Candlemas; which commemorates the Presentation of Jesus at the Temple and is observed by Catholics, as well as German Protestants, like the Pennsylvania Dutch communities.

The Pennsylvania Dutch, who were originally (and primarily) German immigrants to the Americas, had a lot of “superstitions” about weather – some of which could be found in Hostetter’s United States Almanac, for Merchants, Mechanics, Farmers, Planters, and General Family Use (published 1863–1909 in Pittsburgh, Pennsylvania by Hostetter & Smith). For instance, if the weather was nice for All Saints’ and All Souls’ Days (the two days after All Hallows’ Eve), then the weather would be good for the next six weeks. Similarly, there was an obvious tie between Christianity and the Old World (pagan) beliefs in the idea that the length of icicles between Christmas and New Year’s would translate into the depth of snow during winter.

The groundhog tradition is one of the few Pennsylvania Dutch beliefs that, somehow, jumped from their very sacred (and closed) communities into the secular world. Punxsutawney Phil (in western Pennsylvania) is arguably the most famous and has been predicting the weather since 1886. (Of course, despite what the organizers would have you believe, there have been several Phils over the years.) The official Groundhog Day ceremony, with all its pomp and circumstance, rituals, and proclamations has been an official ceremony since 1887. The movie, in 1993, increased tourism to the area, as the average number of attendees rose from 2,000 to 10,000. In 2019, the event was live streamed – which means the town was virtually prepared for this year’s COVID-19 restrictions.

In addition to Punxsutawney Phil, there’s Chattanooga Chuck in Tennessee; French Creek Freddie in West Virginia; Buckeye Chuck in Ohio and Staten Island Chuck (a.k.a Charles G. Hogg) in New Jersey – and Staten Island Chuck’s daughter Charlotte, Jr.; Essex Ed also in New Jersey; Jimmy the Groundhog in Wisconsin; Stormy Marmot in Colorado; General Beauregard Lee (known as Beau) in Gwinnett County, Georgia; and Pierre C. Shadeaux in Louisiana. Shubenacadie Sam is in Nova Scotia. In Canada, there’s Balzac Billy in Alberta; Fred la marmotte in Quebec; and Wiarton Willie in Ontario.

There’s also a larger-than-life “Essex Ed” in Essex, Connecticut.

Over the years there’s been a lot of controversy around the groundhogs. One (allegedly) bit a New York mayor and, a few years later, a different New York mayor would (allegedly) drop a different groundhog. Then there was the time Warton Willie (in Ontario) predicted the weather even though he had died two days before Groundhog Day. Then there’s the fact that the groundhogs are notoriously wrong – although, perhaps not as much as one might think.

According to a 2021 CNN article by Laura Ly (with contributions from CNN meteorologist Allison Chinchar), Punxsutawney Phil has reportedly seen his shadow 104 times, but not seen it only 20 times; and, statistically speaking, he’s been correct 50% of the time in the last 10 years – which makes him a little like that broken clock that has tells the correct time twice a day. On the flip side, a 2018 Time Magazine article by Chris Wilson and Lily Rothman referenced a Mathematical Association of America paper that tracked predictions from 1950 to 1990 and found Punxsutawney Phil was 70% accuracy. During that time, Staten Island Chuck had a better record. However, when the Time reporters looked specifically at the 2017 predictions of 16 groundhogs and actually tracked the weather for each region, Unadilla Bill (in Nebraska) was 83% accurate. The thing is, Unadilla Bill is not “real”… he’s a product of taxidermy!

Just for the record, Punxsutawney Phil did not see his shadow the last two years, but he did see it this year; so, six more weeks of winter – unless you decide to bank on Unadilla Bill’s track record; in which case you get an early spring since the stuffed groundhog did not “see” his shadow. (This is Unadilla Bill’s last forecast as he is “retiring” and will be replaced by Unadilla Billie, that rare female groundhog.)

“It’s always Feb 2^nd – there’s nothing I can do about it.”

– Bill Murray as “Phil Connors” in the movie Groundhog Day

In the movie, Phil Connors is like Sisyphus – in that he is stoically prepared to do what he has to do. But, very quickly, he becomes downright fatalistic and then straight-up defiant. He’s Scrooge and George Bailey all rolled-up into one. It’s sad. As he makes some efforts to change his behavior and his interactions with others in a (futile) attempt to break the time loop, we can definitely see evidence that the movie loosely fits into the rubric of Dr. Elisabeth Kübler-Ross’s five stages of grief. The problem with the recalcitrant weatherman’s approach is that he continuously picks the absolute worse things to say and do – pretty much guaranteeing that the loop continues.

Some people have looked at the movie as a Christian allegory about purgatory, and that fits in with the background of the original observation (if only in the fact that the original observation came from a Christian community and had close ties to Candlemas). It also fits in with the fact that Danny Rubin, the original writer, was inspired by Lestat de Lioncourt, one of Anne Rice’s most famous vampires – and Anne Rice’s books are steeped in (and with) Catholic imagery, ritual, and tradition.

I tend, however, to lean towards those who view the movie as a Buddhist parable or koan about karma. Karma is a Sanskrit word (kamma in Pali) meaning work, effort, action, or deed. In the Buddhist and Yoga philosophies, it is every thought, every word, and every deed – and our karma, literally our efforts, determine our suffering as well as how often we will repeat a life that involves suffering. The repetition of behavior connects to the philosophical concept of samskāras (saņkhāras in Pali) – which are the mental grooves (or ruts) that create our behavior and, in Buddhism, our world (samsāra). All of this fits in with Bill Murray’s observation (about people fearing change) and the fact that both Danny Rubin, the original writer, and Harold Ramos, who directed and worked on the movie’s re-write, have more than a working knowledge of Buddhism. Furthermore, in Buddhism – just like in the movie – the end of the cycle of suffering (and/or reincarnation) comes from the way we open our hearts to others.

Which, of course, begs the question: how long does that take? In fact, almost everyone who has ever seen the movie wonders how long the time loop takes.

“Again,’ says [Danny] Rubin, ‘I fought for the bookcase for a long time. Ultimately, it became this weird political issue because if you asked the studio, “How long was the repetition?”, they’d say, “Two weeks.” But the point of the movie to me was that you had to feel you were enduring something that was going on for a long time. It’s not like a sitcom where the problem is solved in 22½ minutes. For me it had to be – I don’t know. A hundred years. A lifetime.’

[Harold] Ramis maintains that the original script had specified that Phil was stuck for 10,000 years because of the significance of that time-span in Buddhist teachings, but Rubin denies this.”

– quoted from Groundhog Day (BFI Modern Classics) by Ryan Gilbey (series editor, Rob White)

In a 2005 critical study of the movie, Ryan Gibley explored some of the theories, misconceptions, and assumptions about the time-loop continuum – as well as the way the understanding (and “official” explanations) of the timeline changed and evolved over time. In the original draft, Phil Connors used books (reading one page a day) to keep track of the days and, based on that concept, the loop would be 70 – 80 years. At one point, Harold Ramis said 10; but when a blogger broke down scenes and estimated 9, Mr. Ramis publicly stated it was 30 – 40 years.

Suffice to say, it takes a really long time: as long as it takes to break every habit that makes up your life and the way you live your life. For Phil Connors that means changing the way he interacts with himself as well as with others. It means he has to engage all of the brahmavihārās or divine abodes in Buddhism (loving-kindness, compassion, sympathetic joy, and equanimity) and all of the siddhis “unique to being human” – in particular, those that overlap with Buddhism: the power to eliminate three-fold sorrow; the power to cultivate a good heart (and make friends); and the power of generosity.

The movie and, in particular, Phil’s evolution in the movie are a great lens through which to view our own lives. It can serve as a starting point for svādhyāyā (“self-study”), giving us the opportunity to look at how we respond (or habitually react) when we are faced with the same mistakes or the same issues. It brings our awareness to how things (and people) are connected and to how we’re changing (every time we inhale, every time we exhale) – even when it seems like things are staying the same. In noticing the difference a day makes/made – the difference that is us (or Phil, in the movie) – we are given the opportunity to consider how changing our perspective changes our behavior, and how that changes everything.

Finally, the movie makes us wonder how we would choose to spend the day if we knew this was the only day we would ever have. It begs the question: What would you do and with whom would you spend this day if it was your only day? And follows that with: Why are you waiting for your final day, your only day, to learn what you want to learn, do what you want to do, and spend time with the one(s) you love? Finally, the movie makes us wonder: What will it take for us to appreciate this day?

“Well, what if there is no tomorrow? There wasn’t one today.”

– Bill Murray as “Phil Connors” in the movie Groundhog Day

Tuesday’s playlist is available on YouTube and Spotify. (UPDATE 2/3/2021: There is one track on Spotify that has been revised and one track on both playlists that has been revised to include a longer version, for content.)

“S: I got flowers in the spring, I got you to wear my ring
C: And when I’m sad, you’re a clown
C: And if I get scared, you’re always around
C: So let them say your hair’s too long
S: Cause I don’t care, with you I can’t go wrong
S: Then put your little hand in mine
S: There ain’t no hill or mountain we can’t climb”

– quoted from the song “I Got You Babe” by Sonny & Cher

IT’S ALMOST TIME! Are you ready for another “First Friday Night Special?” Please join me this Friday, February the 5th (7:15 – 8:20 PM, CST) when we will be “observing the conditions” of the heart. This practice is open and accessible to all. Additional details are posted on the “Class Schedules” calendar!

### “THE DIFFERENCE IS YOU” ###

Speaking of Rivers February 2, 2021

Posted by ajoyfulpractice in "Impossible" People, Art, Books, Changing Perspectives, Healing Stories, Hope, Langston Hughes, Life, Meditation, Music, One Hoop, Peace, Philosophy, Poetry, Suffering, Wisdom, Writing, Yoga.
Tags: Black History Month, Carter G. Woodson, Harlem Renaissance, Thurgood Marshall
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[This is the post for Monday, February 1^st! You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support the center and its teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es).) Donations are tax deductible; class purchases are not necessarily deductible.]

Check out the “Class Schedules” calendar for upcoming classes.]

“I’ve known rivers:

I’ve known rivers ancient as the world and older than the flow of human blood in human veins.

My soul has grown deep like the rivers.”

– from the poem “The Negro Speaks of Rivers” by Langston Hughes

Since 1976, February 1^st has marked the beginning of Black History Month in the United States of America. I always found it curious: Why February, the shortest month of the year (even during leap years)? I sometimes wondered if the reason had anything to do with Langston Hughes, who was born today in 1902.*

Born James Mercer Langston Hughes, the poet was a prominent member of the Harlem Renaissance and the first Black American to earn a living solely from writing and public lectures. In addition to poetry (including jazz poetry, which he started writing in high school), he wrote novels, plays, essays, and letters…so many letters. He wrote so many letters, in fact, that at one point he was writing 30 – 40 letters a day and, by the end of his life, he could have filled 20 volumes of books with his letters.

He traveled the world, wrote about his experiences in Paris, Mexico, West Africa, the Azores and Canary Islands, Holland, France, Italy, the Soviet Union, and the Caribbean – but he always came home to Harlem. After all, his patrons were in Harlem. They were, in many ways, the very people about whom he said that he wrote: “workers, roustabouts, and singers, and job hunters on Lenox Avenue in New York, or Seventh Street in Washington or South State in Chicago—people up today and down tomorrow, working this week and fired the next, beaten and baffled, but determined not to be wholly beaten, buying furniture on the installment plan, filling the house with roomers to help pay the rent, hoping to get a new suit for Easter—and pawning that suit before the Fourth of July.” He made a name for himself specifically writing about the Black experience, but (in doing so) he wrote about the American experience.

“Well, I like to eat, sleep, drink, and be in love.

I like to work, read, learn, and understand life.

I like a pipe for a Christmas present,

or records—Bessie, bop, or Bach.

I guess being colored doesn’t make me not like

the same things other folks like who are other races.

So will my page be colored that I write?

Being me, it will not be white.

But it will be

a part of you, instructor.

You are white—

yet a part of me, as I am a part of you.

That’s American.”

– quoted from the poem ”Theme for English B” by Langston Hughes

Being an African-American born at the beginning of the 20^th Century meant that Mr. Hughes easily trace his heritage back to slavery. Both of his paternal great-grandmothers were enslaved and both of his paternal great-grandfathers were slave owners.

He could also trace his heritage to freedom and a time when there was no question about freedom – as well as the time when people appreciated their freedom in new ways. His maternal grandmother, Mary Patterson, was African-American, French, English, and Indigenous American. She was also the first woman to attend Oberlin College. She married a man, Lewis Sheridan Leary, also of mixed heritage, who died in 1859 while participating in John Brown’s raid on Harpers Ferry and eventually married her second husband, Charles Henry Langston. The senior Langston, along with his brother John Mercer Langston, was an abolitionist and leader of the Ohio Anti-Slavery Society, who would eventually become a teacher and voting rights activist.

“So boy, don’t you turn back.

Don’t you set down on the steps

’Cause you finds it’s kinder hard.

Don’t you fall now—

For I’se still goin’, honey,

I’se still climbin’,

And life for me ain’t been no crystal stair.”

– quoted from the poem “Mother to Son” by Langston Hughes

The Langstons’ daughter, Caroline (Carrie), would become a school teacher and the mother of the great poet. Raised primarily by his mother and maternal grandmother, Langston Hughes should a definite talent and interest in writing at an early age. He was also devoted to books. Despite being academically inclined, he struggled with the racism in school – even when it seemed to benefit him, because he couldn’t escape the misconceptions, marginalization, and oppression that came with the stereotypes.

Still, he persisted. He attended Lincoln University, a Historically Black College and University (HBCU) in Chester County, Pennsylvania, where he was the classmate of the then-future Supreme Court Justice Thurgood Marshall. And, when he had the opportunity to share his poetry with a popular white poet whose poetry “sang” (and was meant to be sung), he took advantage of the moment – even though he was working as a busboy at a New York hotel where the poet (Vachel Lindsay) was having dinner.

“I dream a world where all
Will know sweet freedom’s way,
Where greed no longer saps the soul
Nor avarice blights our day.
A world I dream where black or white,
Whatever race you be,
Will share the bounties of the earth
And every man is free,”

– quoted from “I Dream A World” by Langston Hughes

Langston Hughes and his words left an indelible mark on the world. As Black History Month is all about recognizing African-Americans who were influential to our society – but not always recognized by society; I have often wondered if Langston Hughes’s birthday being on the 1^st was the reason Black History Month is in February. Well, as it turns out, it’s just one more example of serendipity.

Created in 1926 by Carter G. Woodson, an African-American historian who was the son of former slaves, the annual celebration initially started as “Negro History Week” – and it was the second week in February for fifty years. Mr. Woodson started the week so that it coincided with the birthday of President Abraham Lincoln (2/12/1809) and the observed/assumed birthday of Frederick Douglass (2/14/1818), the abolitionist, who escaped slavery at the age of 20). The existence of this heritage month has inspired heritage and cultural observation throughout the year so that the calendar, in some ways, reflects the United States: diverse and (academically) segregated. It has also changed the way some aspects of American history are taught.

“I look at my own body

With eyes no longer blind—

And I see that my own hands can make

The world that’s in my mind.

Then let us hurry, comrades,

The road to find.

– quoted from the poem “I look at the world” by Langston Hughes

There is no playlist for the Common Ground practice. (But my Langston Hughes playlist is full of Bessie, bop, and Bach – all of the poet’s favorites!)

*2022 NOTE: According to most printed biographies (that I checked), Langston Hughes was born in 1902. However, many digital sources indicate that he was born in 1901 – and this earlier date is based on research and fact checking reported for the New York Times by Jennifer Schuessler (in 2018). Curiously, the 1940 census listed his birth as “abt 1905;” however, this information would have been given to a census taker by one of the poet’s roommates. (Additionally, we know from one his poems that Langston Hughes didn’t think very highly of the “census man” and the accuracy of census information.)

IT’S ALMOST TIME! Are you ready for another “First Friday Night Special?” Please join me this Friday, February the 5th (7:15 – 8:20 PM, CST) when we will be “observing the conditions” of the heart. This practice is open and accessible to all. Additional details are posted on the “Class Schedules” calendar!

### KEEP ON A-CLIMBIN’ ON ###

Focus/Concentrate on Peace and Non-violence (the Saturday post) January 31, 2021

Posted by ajoyfulpractice in Art, Books, Buddhism, Changing Perspectives, Dharma, Dr. Martin Luther King, Jr., Faith, Gandhi, Healing Stories, Hope, Life, Meditation, Music, One Hoop, Pain, Peace, Philosophy, Religion, Suffering, Tragedy, Wisdom, Yoga.
Tags: A. R. Rahman, Ahimsa, Bogside Massacre, Khatija Rahman, Krishna Kripalani, Marcus Aurelius, Martyrs' Day, Non-violence, Reheema Rahman, Season for Nonviolence, Simon Reynolds, Sunday Bloody Sunday, U2, Yoga Sutra 2.35, Yoga Sutra 3.1, yoga sutras
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[This is the post for Saturday, January 30^th. You can request an audio recording of Saturday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

“This is an invitation to a high location
For someone who wants to belong
This is a meditation on your radio station
If you like it you can sing along”

– quoted from the English lyrics of the song “Ahimsa” by U2 and A. R. Rahman, featuring Khatija and Raheema Rahman

After reviewing the first two chapters of the Patanjali’s Yoga Sūtras, over the last two weeks, I decided today was a good day to progress. Not coincidentally, the third section of Patanjali’s treatise is the Chapter or “Foundation (or Chapter) on Progression”** and it picks up where the second section (the Chapter or “Foundation on Practice”) leaves off: with the sixth limb of the 8-Limb philosophy, dhāraņā. As I have mentioned in class before, when I first started diving into the Yoga Philosophy, I was taught that dhāraņā is a Sanskrit word for “focusing” – which it is. However, the word can also be translated as “concentration” and “directing attention.”

Some might say that the more classical traditions use concentration; but, Swami Vivekananda (who first introduced the philosophy to the Western world) and T. K. V. Desikachar (whose father was responsible for the resurgence of the physical practice in India and, therefore, the introduction of haţha yoga to the West) both translate it as “holding [the mind to…].” I tend to stick with “focusing”, because it provides a way to track the intensity of awareness/attention as we progress from the fifth limb (pratyāhāra, “sense withdrawal,” which is pulling the senses and mind into a single point) and the eight limb (Samādhi, which is spiritual absorption that comes from meditation).

Yoga Sūtra 3.1 deśabandhah cittasya dhāranā

– “Dhāranā is the process of holding, focusing, or fixing the attention of mind onto one object or place.”

Throughout the first (“Foundation on Concentration”) and second (“Foundation on Practice”) chapters, Patanjali reinforced the power of fixing the mind on a single point. We often, as instructed, start with the breath as it is generally the most accessible and it can be infused (or paired) with the other suggestions. For instance, you can breathe in love and exhale kindness. Or, breathe peace in and peace out. Either way, whether it is an idea, a concept, a sensation, a physical/tangible object, or a person, Patanjali also reinforced the importance of choosing wisely – because eventually the goal is to become one with the object of your focus.

For this reason, we do not focus on busyness; we focus on a peace. We do not focus on violence, but instead on non-violence. We focus on the joy and the light, not the sorrow and the darkness. If we cannot be assured that a “model” person or historical figure is virtuous and free of desire, then we focus on ourselves in that virtuous and liberated state. This is the practice as recommended by Patanjali.

Now, I know, I know; someone is thinking, “But what about all that talk about cittavŗtti? Isn’t that literally busyness of the mind? Or how about, when you mention people who are suffering and all the times you tell us to ‘bring awareness to all the different sensation/information?’ Aren’t those contradictions?”

No, actually, they’re not.

Remember, at least two lojong or “mind training techniques” from Tibetan Buddhism support the Emperor Marcus Aurelius, who said, “The impediment to action advances action. What stands in the way becomes the way.” Furthermore, one of Patanjali’s goals was to bring awareness to how the mind worked in order to work the mind. By bringing conscious awareness to the busyness, the violence, the sadness, the darkness, the lack of virtue, and the suffering, we also bring awareness to our own choices and the ability to choose peace (within us), peace (all around us), peace (to and from everything and everyone we encounter). Notice that that is the end of the Shantipat; and it is also the benefit of focusing on peace. It is also the benefit of going back to the beginning of the philosophy and focusing on the first yama (“external restraint” or universal commandment): Ahimsā, “non-violence / non-harming.”

Yoga Sūtra 2.35: ahimsāpratişţhāyām tatsannidhau vairatyāgah

– “In the company of a yogi established in non-violence, animosity disappears.”

Today is one of six days designated as “Martyrs’ Day” in India. This Martyrs’ Day is the one observed on a national level as it is the anniversary of Mahatma Gandhi’s assassination in 1948. Today is also the day, in 1956, when the Reverend Dr. Martin Luther King Jr.’s house was bombed and the day, in 1972, that became known as “Bloody Sunday” in Northern Ireland. Since 1964, when it was first established in Spain, some school children around the world observe today as a “School Day of Non-violence and Peace” and, in 1998, Gandhi’s grandson (Arun Gandhi) established today as the beginning of the “Season for Nonviolence” (which ends on April 4^th, the anniversary of Dr. King’s assassination in 1968. All of these remembrances and observations, just like the observation of International Holocaust Remembrance Day, are dedicated to the goal of honoring the lives of the victims (or martyrs) of past injustices and eradicating the violent tendencies that create more tragedies, crimes against humanity, and overall suffering. Today’s observations are also based on the foundation of ahimsā, one of the guiding principles of Gandhi, King, and those unarmed protesters in Northern Ireland.

Mohandes K. Gandhi was a lawyer by training and trade, who had studied all of India’s religions and philosophies, including Christianity and Islam. He was influenced by the writings of the poet and Jain philosopher Shrimad Rajchandra, William Salter (who was instrumental in the foundation of the NAACP), Henry David Thoreau, the English philosopher John Ruskin, and Leo Tolstoy – on whose farm Gandhi and some of his followers trained in the philosophy of nonviolent civil disobedience. Eventually, Gandhi would equate truth, satya (which is the second yama) with God and center all of his public actions around God/Truth and āhimsa.

Gandhi was shot by a Hindu nationalist today in 1948. Although there is some debate around this, his final words were reportedly, “Hé! Rāma.” (“Oh! Lord.”) – which is the epigraph embossed on his memorial in Delhi and part of a legacy that he prophesized a few months before he died.

“I believe in the message of truth delivered by all the religious teachers of the world. And it is my constant prayer that I may never have a feeling of anger against my traducers, that even if I fall a victim to an assassin’s bullet, I may deliver up my soul with the remembrance of God upon my lips. I shall be content to be written down an impostor if my lips utter a word of anger or abuse against my assailant at the last moment.”

– quoted from a prayer discourse, Summer 1947, as printed in All Men Are Brothers: Life and Thoughts of Mahatma Gandhi, as Told in His Own Words, by Mohandas K. Gandhi (Compiled and Edited by Krishna Kripalani)

“Have I that non-violence of the brave in me? My death alone will show that. If someone killed me and I died with prayer for the assassin on my lips, and God’s remembrance and consciousness of His living presence in the sanctuary of my heart, then alone would I be said to have had the non-violence of the brave.”

– quoted from a prayer speech, June 16, 1947, as printed All Men Are Brothers: Life and Thoughts of Mahatma Gandhi, as Told in His Own Words, by Mohandas K. Gandhi (Compiled and Edited by Krishna Kripalani)

To my knowledge, no one was ever arrested or charged for throwing a bomb on the Reverend Dr. Martin Luther King’s porch today in 1956; but, witnesses saw the man get out of his car and toss the bomb before it exploded. Dr. King was speaking during a mass meeting at First Baptist Church, but his wife Coretta Scott King, their 2-month old daughter Yolanda, and a neighbor were inside. No one was injured, but the damage was done and a crowd of supporters quickly grew outside of the home. When King returned home, he said to the crowd, I want you to love our enemies,” he told his supporters. “Be good to them, love them, and let them know you love them.”

People were angry, of course, but no one who knew the Kings would have been surprised by the minister’s words, after all, he was influenced by Howard Thurman, Tolstoy, and Gandhi and had been teaching this message since (at least 1952). In 1957 (when he gave the sermon twice in a matter of days), he said, “I try to make it something of a custom or tradition to preach from this passage of Scripture at least once a year, adding new insights that I develop along the way, out of new experiences as I give these messages.” He would continue to teach on love and non-violence until his assassination on April 4, 1968. (In an odd case of tragic synchronicity, Mrs. King, who was not hurt when the house was bombed today in 1956, would pass away in Mexico today in 2006. She was 78 years old.)

“The Greek language comes out with another word for love. It is the word agape, and agape is more than eros. Agape is more than philia. Agape is something of the understanding, creative, redemptive goodwill for all men. It is a love that seeks nothing in return. It is an overflowing love; it’s what theologians would call the love of God working in the lives of men. And when you rise to love on this level, you begin to love men, not because they are likeable, but because God loves them. You look at every man, and you love him because you know God loves him. And he might be the worst person you’ve ever seen.”

– quoted from “Loving Your Enemies” sermon at Dexter Avenue Baptist Church by Rev. Martin Luther King, Jr. (11/17/1957)

There was a “Bloody Sunday” in the United States in 1965, but it was not the first and neither was it the last. To my knowledge, the first “Bloody Sunday” was a London conflict in November 1887, that was followed, the following Sunday, by more protests and more violent conflict. The protests and subsequent violence were related to unemployment and the “Coercion Acts” in Ireland, as well as the continued imprisonment of William O’Brien, an Irish Member of Parliament (MP) in the House of Commons of the United Kingdom of Great Britain and Ireland. Over decades and decades of generations, there would be more “Bloody Sundays” – including some in late January and some related to the conflict between the British and Irish. There would even be the 1965 one in the United States, but the “Bloody Sunday” that happened today in 1972, started as a peaceful protest in the Bogside area of Derry, Northern Ireland.

Also known as the Bogside Massacre, this conflict started with peaceful, unarmed Catholic protesters marching in opposition of the internment camps that were part of Great Britain’s “Operation Demetrius” (which would ultimately result in the arrest and imprisonment, without trial, of 342 people suspected of being involved with the Irish Republican Army (IRA) and the displacement of 7,000 civilians). In full view of the public and press, members of the British Army (1^st Battalion, Parachute Regiment – also known as “1 Para”) shot 28 unarmed civilians, 13 of whom died on the spot. A fourteenth victim died from his injuries four months later and the remaining 14 were injured either from gunshots, rubber bullets, flying debris, and (in the case of two) impact from vehicles. Many were shot while fleeing or helping the other victims. Most of the casualties were 17, but they ranged in age from 17 to 59.

Within a couple of days, the British government began court proceedings overseen by The Right Honorable The Lord Widgery (John Widgery, Baron Widgery) who was serving as the Lord Chief Justice of England and Wales. The Widgery Tribunal cleared the British soldiers and authorities of any blame, but described some of the shooting as “bordering on reckless.”

In 1998, a second investigation, chaired by The Right Honorable The Lord Saville of Newdigate (Mark Saville, Baron Saville of Newdigate) began proceedings. This 12-year inquiry would declare the killings “unjustified” and “unjustifiable” and concluded that soldiers “knowingly put forward false accounts” about the protesters being armed, throwing bombs, or presenting any threat. As a result of the Seville Inquiry, British Prime Minister David Cameron issued a formal apology and police began an investigation.

It is worth noting, I think, that the Parachute Regiment had been involved in questionable shootings on civilians before the tragic events today in 1972 and that they would be involved in more afterwards. Despite the fact that the Saville Inquiry was criticized for taking 12 years to reach a conclusion, it would take another 5 years before a former member of the Parachute Regiment was arrested and questioned. As of March 2019 (4 years after the arrest and nearly 47 years after the massacre), no one had been prosecuted and the court had decided there was only enough evidence to prosecute one person “soldier F” (also known as “Lance Corporal F”) – and then only for two of the murders, with the possibility of a single charge of attempted murder being added during the trial.

“How long?”

– quoted from Dr. Martin Luther King, Jr.’s March 25, 1965 speech after the march from Selma to Montgomery and from U2’s 1983 song “Sunday Bloody Sunday”

The Irish rock band U2 has more than one protest song in their repertoire, including the 2000 song “Peace on Earth,” about a 1998 bombing in Northern Ireland, and the 1983 song “Sunday Bloody Sunday,” which appears on the album War. Many have said that War, their third album is not only stylistically edger than their first two albums, but that it also marks a transition in mission and message. Even though they have undergone more stylist changes over the years, one would be hard-pressed to listen to a whole U2 album after War and not understand that their music was art with a purpose. In fact, in Rip It Up and Start Again: Postpunk 1978-1984, Simon Reynolds wrote, “U2 turned pacifism itself into a crusade…” and mentioned the white flag – a symbol of peace and (trustful) surrender – that was a fixture throughout the War tour. Reynolds also talked about the religious and spiritual beliefs that infused the band’s music.

But, for the sake argument, let’s say you missed all that. You can take a look at their lives off the stage and see evidence of the same message and mission that’s in the music. From Bono to the Edge, from Adam Clayton to Larry Mullen Jr., the band mates have lent their time, their talent, their energy, and their financial resources to charitable efforts that have made an on-the-ground difference in people’s lives as well as well as in the global community.

Inspired by the lives of non-violent protesters like Gandhi, the Reverend Dr. Martin Luther King Jr., and the non-violent protesters in Northern Ireland, the members of U2 (even in their 20’s) had an appreciation for the lessons and teachings that cross geographical, ethnic, religious, socioeconomic, and political boundaries. This appreciation is evident in their most recent single, “Āhimsa,” which is a collaboration with the composer and award-winning producer A. R. Rahman. Born in Madras (which is now Chennai, Tamil Nadu), Mr. Rahman said the song celebrates ethnic and spiritual diversity in India, as well as the spirit of non-violence and peace.

The 2019 song features Mr. Rahman’s two daughters (Khatija and Raheema) singing in Tamil, a South Asian language that is one of the official languages in parts of India, as well as in Singapore and Sri Lanka. The Tamil chorus comes from the Thirukkural (Sacred Couplets), a classical South Indian text (circa 500 CE) written in 1,300 (7-word) couplets. The kurals (“couplets” or verses) are divided into three sections that focus on virtue, wealth, and love – and they emphasize non-violence on a variety of different levels. The recently released song uses couplets 313 and 319, from the first section, under the “Aesthetic Virtue” heading “1.3.8. Not Doing Evil.”

“Even when a man takes revenge on others who hate him, in spite of him not hating them initially, the pain caused by his vengeance will bring him inevitable sorrow.” (313)

“When a man inflicts pain upon others in the forenoon, it will come upon him unsought in the afternoon.” (319)

– quoted from the English translation of the Tamil lyrics of the song “Ahimsa” by U2 and A. R. Rahman, featuring Khatija and Raheema Rahman (translation from IntegralYoga.org)

Saturday’s playlist is available on YouTube and Spotify.

**NOTE: Patanjali called the third section of the Yoga Sūtras “Vibhūti Pada,” which is often translated into English as “Foundation (or Chapter) on Progressing.” There are at least twenty different meanings of vibhūti, none of which appear to literally mean “progressing” in English. Instead, the Sanskrit word is most commonly associated with a name of a sage, sacred ashes, and/or great power that comes from great God-given (or God-related) powers.

The word can also be translated into English as glory, majesty, and splendor – in the same way that Hod (Hebrew for “humility”) can also be observed as majesty, splendor, and glory in Kabbalism (Jewish mysticism). Also, just as hod is associated with prayer in Jewish traditions, vibhūti is associated with a form of committed devotion to the Divine, like praying or chanting. Finally, hod is the eighth sefirot (or “attribute” of the Divine, out of ten) on the Tree of Life, and vibhūti can be the manifestation of great power “consisting of eight faculties, especially attributed to Śiva, but supposed also to be attainable by human beings through worship of [God].” The “progressing” to which English translators refer, is the process by which one accepts the invitation to a “high[er] location” or plane of existence.

DON’T FORGET! It’s time for a “First Friday Night Special!” Please join me this Friday, February the 5th (7:15 – 8:20 PM, CST) when we will be “observing the conditions” of the heart. This practice is open and accessible to all. Additional details are posted on the “Class Schedules” calendar!

### GIVE PEACE A CHANCE ###

Who’s Afraid of Breathing? Part II (the Tuesday post) January 27, 2021

Posted by ajoyfulpractice in Abhyasa, Art, Books, Changing Perspectives, Healing Stories, Hope, Life, Meditation, Movies, Music, Pain, Peace, Philosophy, Science, Suffering, TV, Vairagya, Wisdom, Writing, Yoga.
Tags: Disney, Edward Albee, Pancham Sinh, Pandit Rajmani Tigunait, pranayama, Three Little Pigs, Virginia Woolf
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[This is the post for Tuesday, January 26^th (12621). You can request an audio recording of Tuesday’s practices via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.]

“Who’s afraid of a deep breath in, a deep breath in, a deep breath out? Who’s afraid of a deep breath in, a deep breath in, a deep breath out? Not I!”

– A parody of a parody of a Disney™ song

Even before you get to the fact that I’m making a pun (on top of a pun), one might wonder why anyone would fear breathing deeply in and breathing deeply out. It’s kind of like asking who is afraid of living. Of course, living is different from just being alive; living comes with risks. And so it is very common for people to fear life beyond the simplest forms of experience. Additionally, when speaking about prāņāyāma and breathing exercises, even people like the psychiatrist and psychoanalyst Carl Jung have warned that the very thing that can bring peace and ease can also bring discomfort and dis-ease. It all comes down to how you do it and, to a certain extent, why you do it.

“People put their faith implicitly in the stories told them about the dangers attending the practice, without ever taking the trouble of ascertaining the fact themselves. We have been inspiring and expiring air from our birth, and will continue to do so till death; and this is done without the help of any teacher. Prāņāyāma is nothing but a properly regulated form of the otherwise irregular and hurried flow of air, without using much force or undue restraint; and if this is accomplished by patiently keeping the flow slow and steady, there can be no danger. It is the impatience for the Siddhis which cause undue pressure on the organs and thereby causes pains in the ears, the eyes, the chest, etc. If the three bandhas be carefully performed while practising [sic] the Prāņāyāma, there is no possibility of any danger.”

– quoted from the 1914 introduction to the Haţha Yoga Pradipika, translated by Pancham Sinh

The “on top of a pun” to which I earlier referred, is related to Edward Albee’s award-winning play Who’s Afraid of Virginia Woolf? (which premiered in October 1862). When I first learned about the play, I expected it to be about people who feared and felt threatened by feminist ideas. So, I was really confused by the play which, while dealing with characters who (like Virginia’s Woolf’s characters) sometimes have a severe disconnect between what they are thinking and what they are saying, really has nothing to do with Virginia Woolf, or her ideas. While there is a little bit more to the story behind the name, ultimately the title refers to a pun based on the Disney™ song, “Who’s Afraid of the Big Bad Wolf” (1933) from the cartoon “The Three Little Pigs” – and the fact that the rights to the song and title were so expensive that people would sing, “Who’s Afraid of Virginia Woolf?” to the tune of “Here We Go ‘Round the Mulberry Bush.”

In the Disney cartoon and the nursery rhyme, three little pigs made houses out straw, sticks, and bricks/stones (respectively). Of course, the hay/straw and the twigs/sticks didn’t stand a chance against the big, bad wolf and the first two pigs had to escape to the home of the relative they teased earlier in the cartoon. Re-watching the carton as an adult, several things stick out to me. First, there are three obvious breath patterns exhibited by the pigs and the wolf – and a fourth, less obvious pattern of breathing. Second, the characters in the cartoon are anthropomorphic and so the four breath patterns in the story match common breath patterns related to real-life human experiences. Finally, when the characters are not exhibiting the fourth breath pattern (the one of peace and ease) the cartoon characters exhibit the same debilitating conditions Patanjali described in the yoga sūtras (1.30-31).

The first breath pattern is the one that allows the first two pigs to sing and dance (and tease their relative). After years working with professional performing artists, I can’t help but think of the level of training and conditioning that is required to put on a performance. The breath has to be deep and also sustainable. It has to be controlled and measured, in some ways similar to the way we control and measure the breath when practicing certain forms of prāņāyāma.

The second breath pattern is one that can be associated with fear. Fear is an emotional response to a perceived threat. It doesn’t matter if the threat turns out to be real or not, the perception is what kicks that body’s defense mechanisms into overdrive. This breath pattern can manifest as shallow breathing and/or an involuntary breath suspension or holding of the breath. If this fear-based pattern is sustained for too long, it can become a habit – just as it has for so many in the world who have had to deal with extended periods of trauma – and often results in the “unsteadiness or trembling of limbs” described by Patanjali.

The third breath pattern is the breath pattern of the wolf. It is a pattern of anger and or frustration; it is “huffing and puffing.” This could also be considered shallow breathing (and one could easily argue that sometimes fear-driven breathing and anger-driven breathing are very similar, if not the same).

The fourth breath pattern, as I mentioned before, is a breath of peace and ease. It is a resting breath, a breath we experience in deep, peaceful sleep and also in meditation. It is the breathing pattern of someone who feels safe and secure, stable and steady, content and at ease. This is the breathing pattern of the third pig (who builds with stone). It is similar to the first breath pattern in so far as the fact that, with training, hard work and exertion can be achieved while maintaining a deep breath in and a deep breath out.

“We are alive because we breathe. The more harmonious the breath, the more peaceful and organized the mind. Unsteadiness in the limbs and organs caused by a vast range of mental negativity – particularly anger and fear – has a direct effect on the breath…. According to the yogis, fear and anger are the major causes of chest breathing. Chest breathing limits the intake of oxygen and the output of used-up gases. Our lung capacity declines, the level if vital nutrients in or blood drops, and the level of toxins in the body rise. Our physical vitality and strength decline, as does our mental clarity and ability to think linearly.”

– commentary on Yoga Sūtra 1.31 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD

Throughout the year, I repeat the refrain: What happens in the body, happens in the mind; what happens in the mind happens in the body; and both affect the breath. And the breath affects the mind and the body. I keep coming back to this not only because Patanjali and the authors of other sacred text kept coming back to it, but also because it is a truth we can all experience for ourselves. We can all gauge the breath and, in turn, use the breath as a gauge to determine how experiences (thoughts, words, and deeds) are affecting us. At any given time, we can just take a moment to notice the breath – and consider which breathing pattern most consistently reflects those four from the story. Additionally, at any given time throughout the day, we can harness the breath – and the power of the breath – by breathing deeply in, and breathing deeply out. Changing the pattern of the breath can not only calm and balance the mind-body, it can also cultivate a little more peace and ease or a little bit more energy. These practices have short term as well as long term benefits, both of which can be cumulative.

Prāņāyāma, meditation, and other practices that might fall under the “mindfulness” umbrella cultivate clarity of mind and also get us in touch with the heart. In the Eastern philosophies, like Yoga and Buddhism, every emotion has a near-relation, a near-opposite, and an opposite emotion. In the case of fear, wisdom is the opposite emotion; and in the case of anger/frustration, loving-kindness is the opposite – these are the expressions of the heart when everything is in balance. Everything is in balance when the we feel safe, steady, comfortable, at ease, and maybe even joyful.

One additional note to consider: Yesterday, I chose not to mention some of the culturally problematic aspects of Virginia Woolf’s biography. However, I will take a quick moment here to address one of the many problematic elements within the Disney™ universe.

The pigs, the wolf, and the overall situation in the Disney™ cartoon are all symbolic. The pigs represent the different ways people deal with impending and inevitable disaster and the wolf symbolizes that something that will destroy the known world. People, especially when the cartoon first appeared in 1933, looked at it as Disney’s take on the Depression; and, would eventually also relate the story to World War II and the rise of fascism. However, like so many cultural elements from our past (and like way too many Disney pieces), “The Three Little Pigs” originally contained a culturally insensitive and highly problematic element: in this case, an anti-Semitic element whereby the wolf was depicted as Jewish. The audio was re-looped early on and, in 1948, Disney™ re-edited the original animation in order to completely eliminate the anti-Semitic trope and move onto the right side of history.

“chale vāte chalaṃ chittaṃ niśchale niśchalaṃ bhavet||
yoghī sthāṇutvamāpnoti tato vāyuṃ nirodhayet || 2 ||

Respiration being disturbed, the mind becomes disturbed. By restraining respiration, the Yogî gets steadiness of mind”

– quoted from “Chapter 2. On Prāņāyāma” of the Haţha Yoga Pradipika, translated by Pancham Sinh (1914)

Tuesday’s Noon playlist is available on YouTube and Spotify. [Look for “07192020 Compassion & Peace (J’Accuse!)”]

The Tuesday evening playlist is also available on YouTube and Spotify. [Look for “10272020 Pranayama II”]

### KEEP ON BREATHIN’ & BREATHIn’ & BREATHIN’ ###

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A Joyful Practice

Martha and the Diamond (with links and music) May 11, 2021

–actor Gregory Peck on Martha Graham (in a documentary)

– The Diamond Sutra (4)

You can read more about the Diamond Sutra and Martha Graham in my 2020 post.

### “Keep the channel open.” ~ MG ###

New Year, New Season (a “missing” post for multiple Saturdays) March 21, 2021

– quoted from a rare “New Year” message from the Universal House of Justice “To the Bahá’is of the World,” dated Naw-Ruz 177 (March 20, 2020, in reference to COVID-19 recommendations)

– quoted from “The First Kings” in Shanameh – The Persian Book of Kings by Abolqasem Ferdowsi (translated by Dick Davis)

– quoted from the commentary on “Yoga Sutras 3.9-3.16: Witnessing Subtle Transitions With Samyama” by Swami Jnaneshvara Bharati (“Swami J”)

“‘He who is not courageous enough to take risks will accomplish nothing in life.’”

– quoted from the Ebony Magazine article, “Muhammad Ali: ‘Don’t Count Me Out’ – Despite his medical problems, ‘The Greatest’ says there is plenty of fight left in his body” by Walter Leavy (published March 1985)

Yoga Sūtra 3.7: trayam antarangam pūrvebhyah

– “These three practices of concentration (dhāranā), meditation (dhyāna), and samādhi are more intimate or internal than the previous five practices.”

Yoga Sūtra 3.8: tad api bahir-angam nirbījasya

– “These three practices are external, and not intimate compared to nirbija samadhi, which is samadhi that has no object, nor even a seed object on which there is concentration.”

“Could we have entered into the mind of Sir Isaac Newton and have traced all the steps by which he produced his great works, we might see nothing very extraordinary in the process.”

– Joseph Priestley

Yoga Sūtra 3.9: vyutthāna-nirodhah-samskāra abhibhava-prādurbhāvau nirodhah-kşaņa-chitta-anvayah nirodhah-pariņāmah

– “When the vision of the lower Samadhi is suppressed by an act of conscious control, so that there are no longer any thoughts or visions in the mind, that is the achievement of control of the thought-waves of the mind.”

Yoga Sūtra 3.10: tasya praśānta-vāhitā samskārāt

– “When this suppression of thought waves becomes continuous, the mind’s flow is calm.”

Impossible is nothing.”

– quoted from a 2004 Adidas ad campaign written by Aimee Lehto (with final tag line credited to Boyd Croyner), often attributed to Muhammad Ali

### RIDE THESE WAVES ###

The wings of “some kind of bird” are not unlike a “face” over “weft” (a Monday post about movement and expressions) February 23, 2021

– quoted from “Impressions of An Indian Childhood – I. My Mother” in American Indian Stories and Old Indian Legends by Zitkála-Šá

“This unique capacity has enabled us to develop written languages and preserve a vast range of memories pertaining to human experience.”

– commentary on Yoga Sutra 2.24 from The Practice of the Yoga Sutra: Sadhana Pada by Pandit Rajmani Tigunait, PhD

“My candle burns at both ends; It will not last the night; But ah, my foes, and oh, my friends – It gives a lovely light!”

– “First Fig” from A Few Figs from Thistles by Edna St. Vincent Millay (published, 1920)

– quoted from the poem “An Ancient Gesture” by Edna St. Vincent Millay

– P. Jane Hafen (Taos Pueblo), Professor Emirata of English, University of Nevada-Las Vegas in a PBS “Unladylike 2020” interview about Zitkála-Šá

After all he seems at heart much like other peoples.”

– quoted from the preface to American Indian Stories, Legends, and Other Writings by Zitkála-Šá

In this fashion many have passed idly through the Indian schools during the last decade, afterward to boast of their charity to the North American Indians. But few there are who have paused to question whether real life or long-lasting death lies beneath this semblance of civilization.”

– quoted from The Atlantic Monthly (vol. 85, 1900) article “An Indian Teacher among Indians” by Zitkála-Šá

Approved, June 2, 1924. June 2, 1924”

– quoted from the Indian Citizenship Act of 1924

### PEACE (PEACE) PEACE ###

Funken Leftovers (the “missing” Sunday post & the “leftovers” from 2/9) February 22, 2021

“I want a little sugar in my bowlI want a little sweetness down in my soulI could stand some lovin’, oh so badFeel so funny, I feel so sad”

– quoted from the song “I Want A Little Sugar in My Bowl” by Nina Simone

“First of all I want to congratulate you: You’ve been a fine audience, despite severe provocation.”

– quoted from Ed Sullivan’s remarks at the conclusion of The Ed Sullivan Show on February 9, 1964

“This is a magnificent building… but I think the roof is leaking.”

– FISM Grand Prix Champion Fred Kaps, when he worked up a sweat during a performance

“Now, I’m delighted – all of us are delighted – and I know The Beatles on their first appearance here have been very deeply thrilled by their reception here. You’ve been fun. Now get home safely. Good night!”

– quoted from Ed Sullivan’s remarks at the conclusion of The Ed Sullivan Show on February 9, 1964

“I want some sugar in my bowl, I ain’t foolin’I want some sugar In my bowl”

– quoted from the song “I Want A Little Sugar in My Bowl” by Nina Simone

– quoted from “Chapter VIII: Raja-Yoga in Brief” in The Complete Works of Swami Vivekananda, Volume 1, Raja-Yoga by Swami Vivekananda

“You’ve got to learn to leave the tableWhen love’s no longer being served”

– quoted from the song “You’ve Got to Learn” by Nina Simone

### DON’T BE GREEDY, BE GRATEFUL ###

What Happens When We Practice Santosha? (the Sunday Post) February 9, 2021

– quoted from How to Know God: The Yoga Aphorisms of Patanjali (2:42), translated and with commentary by Swami Prabhavananda and Christopher Isherwood

– quoted from How to Know God: The Yoga Aphorisms of Patanjali (2:42), translated and with commentary by Swami Prabhavananda and Christopher Isherwood

“You don’t start by the action; you start by the motivation, and motivation is something that can be cultivated…..

– Matthieu Ricard, speaking about generosity and other mental attitudes in a 2011 Sounds True interview with Tami Simon, entitled “Happiness is a Skill”

“I miss your smileSeems to me the peace I search to findAin’t going to be mine until you say you willDon’t you keep me waiting for that dayI know, I know, I know you hear these words that I say”

– quoted from the song “Waiting for the Day” by George Michael

“You can’t always get what you wantBut if you try sometime you findYou get what you need”

– quoted from the song “You Can’t Always Get What You Want” by The Rolling Stones (which is sampled in George Michael’s “Waiting for the Day”)

“I’m shameless, I don’t have the power nowBut I don’t want it anyhowSo I’ve got to let it go”

– quoted from the song “Shameless” by Billy Joel, covered by Garth Brooks

“I’m fallingIn all the good times I find myselfLongin’ for changeAnd in the bad times I fear myself”

– quoted from the song “Shallow” by Bradley Cooper and Lady Gaga, covered by Garth Brooks and Trisha Yearwood

“Mr. Midnight, alone and blueThe brokenhearted call me up when they don’t know what else to doEvery song is a reminder of the love that they once knewI’m Mr. Midnight, can I play a song for you?”

– quoted from the song “Mr. Midnight” by Garth Brooks

### LOVE ALWAYS WINS ###

Today, 1959 (the Wednesday post about the music that died) February 5, 2021

“Everyone deserves music, sweet music”

– quoted from the song “Everyone Deserves Music” by Michael Franti & Spearhead

Miller thought, if laughter can do that, why not music? So, he tested the effects of music on the cardiovascular system. ‘Turns out music may be one of the best de-stressors — either by playing or even listening to music,’ said Miller.

The setup was basically the same as with the laughter study: Using high-tech imaging, Miller measured blood vessel size as people listened to music.

The results did not surprise Miller. ‘The inner lining of the blood vessel relaxed, opened up and produced chemicals that are protective to the heart,’ he said.

But when participants listened to music they didn’t particularly enjoy, Miller said, ‘the vessels actually began to close up.’”

– quoted from a 2009 CNN Health segment entitled, “The power of music: It’s a real heart opener” by Val Willingham, CNN Medical Producer

“[Holly historian Bill] Griggs, who long ago moved to Holly’s home town of Lubbock, Texas, from Connecticut, estimates they had used five different buses before driving into Clear Lake – ‘reconditioned school buses, not good enough for school kids.’

“My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends –
It gives a lovely light!”

“I want a little sugar in my bowl
I want a little sweetness down in my soul
I could stand some lovin’, oh so bad
Feel so funny, I feel so sad”

“I want some sugar in my bowl, I ain’t foolin’
I want some sugar
In my bowl”

“You’ve got to learn to leave the table
When love’s no longer being served”

“I miss your smile
Seems to me the peace I search to find
Ain’t going to be mine until you say you will
Don’t you keep me waiting for that day
I know, I know, I know you hear these words that I say”

“You can’t always get what you want
But if you try sometime you find
You get what you need”

“I’m shameless, I don’t have the power now
But I don’t want it anyhow
So I’ve got to let it go”

“I’m falling
In all the good times I find myself
Longin’ for change
And in the bad times I fear myself”

“Mr. Midnight, alone and blue
The brokenhearted call me up when they don’t know what else to do
Every song is a reminder of the love that they once knew
I’m Mr. Midnight, can I play a song for you?”

“In a vision I can see, the stars that meant the world to me
Ana din the vision it’s the same as long ago
I see a stage beyond compare and all the stars were settled there”

“We’ve had the final curtain call and if you have seen any of my vision at all
Then you have truly seen, The greatest show of all”

“Look up in the sky
Up toward the North
There are three new stars
Brightly shining forth

They’re shining so bright
From Heaven above
Gee, we’re gonna miss you
Everybody sends their love”

“It’s always Feb 2^nd – there’s nothing I can do about it.”