Trying to please everybody is what you'll soon get tired of, because as time goes on, those you're pleasing will get tired of you.

Rolando pursed his lips and sighed. __ust be careful._ __hy, because her father carries a gun?_ Isaac said. __ren__ you the one who always said guns don__ shoot people?___o, it was you who said that._ Rolando corrected his son. ____e said fathers with guns and beautiful daughters shoot people. Boys in particular._ __ou worry too much, dad._ __ne day, when you are a father, you will understand.

Stop doing what everybody is saying and invest in personal growth.

Why did she do it? Nobody dared to ask. Because - what courage! Who had the courage to burn herself? Twenty aspirin, a little slit alongside the veins of the arm, maybe even a bad half hour standing on a roof: We've all had those. And somewhat more dangerous things, like putting a gun in your mouth. But you put it there, you taste it, it's cold and greasy, your finger is on the trigger, and you find that a whole world lies between this moment and the moment you've been planning, when you'll pull the trigger. That world defeats you. You put the gun back in the drawer. You'll have to find another way.What was that moment like for her? The moment she lit the match. Had she already tried roofs and guns and aspirins? Or was it just an inspiration?I had an inspiration once. I woke up one morning and I knew that today I had to swallow fifty aspirin. It was my task: my job for the day. I lined them up on my desk and took them one by one, counting. But it's not the same as what she did. I could have stopped, at ten, or at thirty. And I could have done what I did do, which was go onto the street and faint. Fifty aspirin is a lot of aspirin, but going onto the street and fainting is like putting the gun back in the drawer.She lit the match.

I spent the two and one-half months between my meeting with the Art Commission and the beginning of my actual mural work in soaking up impressions of the productive activities of the city. I studied industrial scenes by night as well as by day, making literally thousands of sketches of towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembling rooms; also of precision instruments, some of them massive yet delicate; and of the men who worked them all. I walked for miles through the immense workshops of the Ford, Chrysler, Edison, Michigan Alkali, and Parke-Davis plants. I was afire with enthusiasm. My childhood passion for mechanical toys had been transmuted to a delight in machinery for its own sake and for its meaning to man -- his self-fulfillment and liberation from drudgery and poverty. That is why now I placed the collective hero, man-and-machine, higher than the old traditional heroes of art and legend. I felt that in the society of the future as already, to some extent, that of the present, man-and-machine would be as important as air, water, and the light of the sun.This was the "philosophy," the state of mind in which I undertook my Detroit frescoes.

The way the early Protestants taught on the other hand is that everybody is a full time minister in their various places of work. They went to the extent of saying, your job, profession, occupation is your calling