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Or totally baffling acronyms such as ARM, OTC, ETF, ECM, IPO, SOL. Which is why the crash of 2008 remains such a bewildering catastrophe.
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We are all used to having other languages spoken around us - Spanish, French, Russian, Chinese. These days it is really the language of exclusivity, of elite education, and of a rarefied intellectual status. There was an immediate desire to disappear behind a Roman vase forever. There is some type of initiation process, the successful completion of which is rewarded by entrance into the "club." These fraternities speak their own special language (which insiders defend as "terms of art") and confer status and power on initiates.
The new "Latin" of our day has to be the argot of the financial services sector, which consists of words, phrases and acronyms whose sole purpose, it would seem, is to keep us guessing at the gates of understanding.
(Which is why there are numerous online and published lexicons.) This jargon certainly seems calculated to defeat good communication.
Just try rolling your mouth around words like arbitrage, fungible, delta, Chinese wall, quantitative easing, stagflation, and feathering.
Do we introduce contemporary music in a way that allows a highly skeptical, if not hostile, audience to become familiar with new idioms? Do we assist them in creating a relationship with sounds and ideas outside their experience?
Do we break down that iron curtain of separation, the stage, so that audiences can get up close and personal with fascinating performers?
As musicians, presenters, and managers we tend to promote on a default basis the mystery and ritual of a concert experience whose format inevitably excludes.
What's the most intimidating experience you have ever had? Now curators at a major museum have a pretty exalted status and tend to be rather cerebral and just a bit precious.
Starting a brand new job heading up the marketing team at one of the big prestigious museums in London, my friend was introduced to one of the curators.