The Alamanac Singers

 The Almanacs were  the first folk music supergroup and spun off into successful careers for Woody Guthrie, Pete Seeger, Lee Hays, Josh White and Burl Ives.

The Almanac Singers were a New York City-based folk music group, active between 1940 and 1943, founded by Millard Lampell, Lee Hays, Pete Seeger, and Woody Guthrie. The group specialized in topical songs, mostly songs advocating an anti-war, anti-racism and pro-union philosophy. They were part of the Popular Front, an alliance of liberals and leftists, including the Communist Party USA.

Almanac members Millard Lampell, Lee Hays, Pete Seeger, and Woody Guthrie began playing together informally in 1940 or 1941. Pete Seeger and Guthrie had met at Will Geer's Grapes of Wrath Evening, a benefit for displaced migrant workers, in March 1940. That year, Seeger joined Guthrie on a trip to Texas and California to visit Guthrie's relatives. Hays and Lampell had rented a New York City apartment together in October 1940, and on his return Seeger moved in with them. They called their apartment Almanac House, and it became a center for leftist intellectuals as well as crash pad for folksingers, including (in 1942) Sonny Terry and Brownie McGhee.

The Almanacs' first record release, an album of three 78s called Songs for John Doe, written to protest the Selective Training and Service Act of 1940, the first peacetime draft in U.S. history.

Songs for John Doe attacked big American corporations (such as J.P. Morgan and DuPont), repeating the Party's line that they had supported German rearmament, and during the period of re-armament in 1941, were now vying for government contracts to build up the defenses of the U.S. Besides being anti-union, these corporations were a focus of progressive and black activist anger because they barred blacks from employment in defense work. The album also criticized President Roosevelt's unprecedented peacetime draft, insinuating that he was going to war for J.P. Morgan.

The Almanac's second album, Talking Union, also produced by Bernay, was a collection of six labor songs: "Union Maid", "I Don't Want Your Millions Mister", "Get Thee Behind Me Satan", "Union Train", "Which Side Are You On?", and the eponymous "Talking Union

In 1942, Army intelligence and the FBI determined that the Almanacs and their former anti-draft message were  a seditious threat to recruitment and the morale of the war effort among blacks and youth. The group disbanded in late 1942 or early 1943.

The Three Graces with Cupid

Faith, hope and charity

Purpose

One of my goals this year and for the years to follow is to pay attention, observe, the beauty of architecture.

The Eight - Cyril Power.

koto ishihara

Italian sculptor, Marino Marini, in his studio on one of his horses. Milan Italy 1952.

Marini developed several themes in sculpture: equestrian, Pomonas (nudes), portraits, and circus figures and drew on traditions of Etruscan and Northern European sculpture in developing these themes with the aim was to develop mythical images by interpreting classical themes in light of modern concerns and techniques. Marini is particularly famous for his series of stylized equestrian statues, which feature a man with outstretched arms on a horse.

Charles Robert Gatewood

Charles Robert Gatewood (November 8, 1942 – April 28, 2016) was a San Francisco based photographer, writer, videographer, artist, and educator. On April 29, 1966, Gatewood photographed a Bob Dylan press conference and concert. One photograph, "Dylan With Sunglasses and Cigarette," was syndicated and received worldwide publication. It was Gatewood's first sale. Other celebrity photos followed including Martin Luther King, Jr., Ornette Coleman, Sonny Rollins, Joan Baez, Duke Ellington and Ella Fitzgerald.

In 1966, working from an apartment on Manhattan's Lower East Side and rented part of a photography studio at 8 East 12th Street, and sold photos to textbooks, magazines, poster companies, and other editorial markets.

From 1970 to 1974 Gatewood worked as staff photographer for the Manhattan Tribune. He also photographed on assignment for The New York Times, Rolling Stone, Harper's, Business Week, Time, and other magazines.

 In 1975, Sidetripping, Gatewood's first photography book, was published, with text by William S. Burroughs. From 1978 to 1987, Gatewood lived near Woodstock, New York, and worked in Manhattan. His photos from this period include one of social protests, rock festivals, Mardi Gras in New Orleans, body modification, outlaw bikers, and nature. The celebrities he captured images of include Larry Clark, Annie Sprinkle, Michael O'Donoghue, Ira Cohen and Quentin Crisp.

In 1984 the New York State Arts Council awarded Gatewood a grant to publish Wall Street photographs, and in 1985 the book Wall Street was awarded the Leica Medal of Excellence for Outstanding Humanistic Photojournalism.

From 1987, Gatewood lived and worked in San Francisco, California where he produced over thirty documentary videos about body modification, fetish fashion and other alternative interests.

On April 28, 2016, Gatewood, at age 73, tossed himself from a balcony and died from the injuries.

Tamara Łempicka

The following is largely edited from Wikipedia

"I was the first woman to make clear paintings, and that was the origin of my success. Among a hundred canvases, mine were always recognizable. The galleries tended to show my pictures in the best rooms because they attracted people. My work was clear and finished. I looked around me and could only see the total destruction of painting. The banality in which art had sunk gave me a feeling of disgust. I was searching for a craft that no longer existed; I worked quickly with a delicate brush. I was in search of technique, craft, simplicity and good taste. My goal: never copy. Create a new style, with luminous and brilliant colors, rediscover the elegance of my models."

Tamara Łempicka (May 1898 –  March 1980) was a Polish born painter who spent her working life in France and the United States. She is best known for her polished Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes. Her style was a blend of late, refined cubism and the neoclassical style. In 1928 she became the mistress of Baron Raoul Kuffner, a wealthy art collector from the former Austro-Hungarian Empire. After the death of his wife in 1933, the Baron married Lempicka in 1934, and thereafter she became known in the press as "The Baroness with a Brush".

Following the outbreak of World War II in 1939, she and her husband moved to the United States and she painted celebrity portraits, as well as still life’s and, in the 1960s, some abstract paintings.

She created a hedonistic lifestyle for herself, accompanied by intense love affairs within high society. Famous for her libido, Lempicka was bisexual. Her affairs with both men and women were conducted in ways that were considered scandalous at the time. In the 1920s, she became closely associated with lesbian and bisexual women in writing and artistic circles, among them Violet Trefusis, Vita Sackville-West, and Colette. She also became involved with Suzy Solidor, a nightclub singer at the Boîte de Nuit, whose portrait she later painted.

Her father was Boris Gurwik-Górski, a Russian Jewish attorney for a French trading company. Her mother was Malwina Dekler, a Polish socialite who had lived most of her life abroad and who met her husband at one of the European spas.

In 1911 she was sent her to a boarding school in Lausanne, Switzerland, but she was bored and she feigned illness to be permitted to leave the school. Instead, her grandmother took her on a tour of Italy, where she developed her interest in art.

After her parents divorced in 1912, she chose to spend the summer with her wealthy Aunt Stefa in Saint Petersburg. There, in 1915, she met and fell in love with a prominent Polish lawyer, Tadeusz Łempicki (1888–1951). Her family offered him a large dowry, and they were married in 1916 in the chapel of the Knights of Malta in St. Petersburg.

The Russian Revolution in November 1917,  her husband Tadeusz Łempicki was arrested in the middle of the night by the Cheka, the secret police. Tamara searched the prisons for him, and with the help of the Swedish consul, to whom she offered her favors, she secured his release.  They traveled to Copenhagen then to London and finally to Paris, where Tamara's family had also found refuge.

In Paris, the Łempickis lived for a while from the sale of family jewels. Tadeusz proved unwilling or unable to find suitable work. Their daughter, Maria Krystyna "Kizette", was born around 1919.

Lempicka decided to become a painter at her sister's suggestion and studied both at the Saint Petersburg Academy of Arts and Académie de la Grande Chaumière. She exhibited at the Salon d'automne for the first time in 1922. During this period, she signed her paintings "Lempitzki"—the masculine form of her name.

During an Italian tour, she took a lover, the Marquis Sommi Picenardi.  In 1928 she  divorced Łempicki and became the mistress for t Raoul Kuffner, a baron of the former Austro-Hungarian Empire and an art collector. (The title was granted by the second-to-last Austro-Hungarian Emperor, Franz-Joseph I, because Kuffner's family had been the supplier of beef and beer to the imperial court.) Still, Kuffner owned properties of considerable size in eastern Europe.

She traveled to the United States for the first time in 1929 to paint a portrait of the fiancée of the American oilman Rufus T. Bush and to arrange a show of her work at the Carnegie Institute in Pittsburgh. The exposition was a success, but the money she earned was lost when the bank she used collapsed following the stock market crash of 1929.

The wife of Baron Kuffner died in 1933 and De Lempicka married him in 1934 in Zurich. She was alarmed by the rise of the Nazis and persuaded her husband to sell most of his properties in Hungary and to move his fortune and his belongings to Switzerland.[8]

In the winter of 1939, following the outbreak of World War II, Lempicka and her husband moved to the United States. They settled first in Los Angeles, and moved to Beverly Hills, settling into the former residence of the film director King Vidor.

In 1943, Baron Kuffner and de Lempicka relocated to New York City.

Her work was out of fashion after World War II, but made a comeback in the late 1960s, with the rediscovery of Art Deco.

When her last husband, Baron Kuffner, died of a heart attack on November 1961 on the ocean liner Liberté en route to New York, Lempicka sold many of her possessions and made three around-the-world trips by ship.

In 1963, Lempicka moved to Houston, Texas, to be with Kizette and her family and retired from her life as a professional artist. In 1974, she decided to move to Cuernavaca, Mexico. After the death of her husband in 1979, Kizette moved to Cuernavaca to take care of de Lempicka, whose health was declining. De Lempicka died in her sleep on March 18, 1980. Following her wishes, her ashes were scattered over the volcano Popocatépetl.

LE CORBUSIER, Weissenhof-Siedlung, Stuttgart Germany, 1927

Cosmic Age Lodge in Anaheim, California.

What an absolute shame I never went ther. The Space Age Lodge in Anaheim, California, open in 1965. One of five cosmic-themed motels created by industrialist Al Stovall, the Space Age Lodge was partnered with the Inn of Tomorrow, the Cosmic Inn, The Galaxy, another Space Age Lodge (all in Anaheim) and the Space Age in Gila Bend, Arizona. (“All at down to earth rates”) Stovall was inspired in the design by his affiliation with the newly formed Space program. He owned a copper mine and a plastic factory, which made his ability to create special designs and implement a variety of creative interior and exterior decorations a cinch. Many of the lamps, room dividers and exterior do-dads were made from materials from his mine and factory.

Space Age Lodge

ALEXANDRA SCOVILLE

 The year is 1965. The Space Age is in full swing in the United States following President John F. Kennedy’s promise three years earlier to land on the moon within the decade. While Buzz and Neil wouldn’t take their first steps on lunar soil for four more years, space exploration was in full force in Gila Bend. Al Stovall’s Best Western Space Age Lodge opened in the town, a natural stopping point for travelers on the way to or from California and Rocky Point. The retro hotel was one of five special “space age” destinations the late Stovall designed in the early to mid-’60s.

The lodge is now in the care of Bill O’Connell, who first began working with Al Stovall as a 21-year-old in the boss’ hotels in Anaheim, Calif. Every futuristic detail at the Space Age Lodge, from the lamps to room dividers, was hand-designed by Stovall, O’Connell says: “It was all his imagination and creativity that they used to build the hotel.”

Outer space was what “everyone was talking about” in the ‘60s, and the Space Age Lodge remains committed to the theme. In 1998, a fire sparked by a malfunctioning neon light destroyed parts of the lobby and restaurant; the owners took it in stride, stretching a banner outside the burned building that read, “Attacked by Aliens!”  A UFO on the lobby roof, and murals of shuttles, satellites and spacemen were added throughout the lobby and restaurant in the remodel. “When you’re standing in the lobby and you look up, it almost makes you feel like you’re in outer space,” O’Connell says.

The hotel is still doing good business and standing strong after 50 years. O’Connell sees the hotel staying open for years to come, especially as the Space Age Lodge becomes more nostalgic as it preserves the increasingly distant era of moon landings, space races and road trip attractions.

Richard Anuskiewicz, 1961

"My work is of an experimental nature and has centered on an investigation into the effects of complementary colors of full intensity when juxtaposed and the optical changes that occur as a result, and a study of the dynamic effect of the whole under changing conditions of light, and the effect of light on color."

Richard Joseph Anuszkiewicz (May 23, 1930 – May 19, 2020) was an American painter, printmaker, and sculptor. The son of Polish immigrants, Anuszkiewicz trained at the Cleveland Institute of Art in Cleveland, then with Josef Albersat the Yale University School of Art in New Haven, Connecticut (1953–1955) He was one of the founders and foremost exponents of Op Art, a movement during the late 1960s and early 1970s.

, Anuszkiewicz was concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric configurations. Most of his work comprises visual investigations of formal structural and color effects, many of them nested square forms similar to the work of his mentor Josef Albers.

EB White

"All that I hope to say in books, all that I ever hope to say, is that I love the world."

Elwyn Brooks White (July 11, 1899 – October 1, 1985) AKA EB White was the author of several highly popular books for children, including Stuart Little (1945), Charlotte's Web (1952), and The Trumpet of the Swan (1970).  He was a contributor to The New Yorker magazine, and also a co-author of the English language style guide The Elements of Style.

When The New Yorker was founded in 1925, White submitted manuscripts to it. Katharine Angell, the literary editor, recommended to editor-in-chief and founder Harold Ross that White be hired as a staff writer. However, it took months to convince him to come to a meeting at the office and additional weeks to convince him to work on the premises. Eventually, he agreed to work in the office on Thursdays.

White was shy around women, claiming he had “too small a heart, too large a pen."

But in 1929, culminating an affair which led to her divorce, White and Katherine Angell were married. They had a son, Joel White.

James Thurber described White as a quiet man who disliked publicity and who, during his time at The New Yorker, would slip out of his office via the fire escape to avoid visitors whom he didn't know.

White had Alzheimer's disease and died on October 1, 1985, at his farm home in North Brooklin, Maine.

A Navajo smile. 1904. US government photo

karina gonzález photographed by taylor-ferne morris

The Temple of Montu is an Egyptian temple dedicated to the worship of Monthu, a falcon-headed, god of war.

*** OPPORTUNITIES FOR PLAYWRIGHTS ***

To celebrate PAC’s 10th anniversary season and to celebrate the vitality of classical themes in new work, PAC invites playwrights to submit for consideration for our first ever New Venture Reading Series Play Festival. The theme for the plays is Transformation.

***

In 2017, Audible launched a theater initiative, intended to radically increase access to exceptional plays and performances. A core pillar of the initiative is the Emerging Playwrights Fund, a program that invests in and nurtures self-identifying emerging playwrights, some of our most inventive, delightful, and provocative storytellers. Through the Fund, Audible aims to connect extraordinary performers with remarkable original work, amplifying new voices and harnessing the power and potential of audio to reach millions of listeners.

***

Calling all Playwrights! Do you have a masterpiece of a full-length play completed? Would you love to see it brought to life on both stage and screen?

Any selected play will receive a $1000.00 award

*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***

*** ANTITHEATRICALITY ***

Winner of the 1982 Barnard Hewitt award for “outstanding research in theatre history,” Jonas Barish’s monumental The Antitheatrical Prejudice was ten years in the making. Covering 2500 years of theatre history, it is also the sort of book almost no scholar today would attempt to write—not least because the norms of academic publishing have shifted so significantly over the past thirty-odd years. Barish moves chronologically from Plato to twentieth-century theatre as he pursues the question of why the institution of theatre has been so vigorously and so widely opposed, especially at those moments when it flourished the most. For Barish,

"the fact that the prejudice turns out to be of such nearly universal dimension, that is has infiltrated the spirits not only of insignificant criticasters and village explainers but of giants like Plato, Saint Augustine, Rousseau, and Nietzsche, suggests that it is worth looking at more closely—that it is indeed, more than a prejudice….looked at more attentively, it comes to appear a kind of ontological malaise, a condition inseparable from our beings, which we can no more discard than we can shed our skins. (2)

More...

https://thehareonline.com/book-reviews/antitheatrical-prejudice

***

Consideration of the antitheatrical prejudice must begin with Plato, who first articulated it, and to whom its later exponents regularly return in support of their proscriptions and prohibitions. Plato provides a philosophical framework for the debate over all art, and most of the key terms for a controversy that raged for two millennia after his death and still smolders today. In Plato, moreover, we find a characteristic conflict: a haunting acknowledgement of the potency of the theater leading to an all the more stinging repudiation of it. We cannot, and with Plato we need not, differentiate the art of the theater sharply from that of epic poetry, painting, sculpture or music.

More -  Google Books, the Anti-theatrical Prejudice by Jonas Barish

https://books.google.com/books/about/The_Antitheatrical_Prejudice.html?id=J02N1Oc25csC

***

The subject of Jonas Barish’s large book is what he calls “antitheatricality”—a state of mind that ranges from a cold dislike of the stage to a furious desire to burn every theater to the ground and dispatch all actors to the flaming underworld. “These pages… propose no polemical thesis,” Professor Barish writes, but the fact that not a single antitheatrical writer from Plato to Yvor Winters is allowed to express himself without being taken apart by Professor Barish gives a polemical flavor to every page of the book. The author half admits this when he says in his peculiar prose: “Sometimes I have temerariously engaged in debate with authors dangerous to disagree with.”

The usefulness of the professor’s book lies in his classification of objections to the theater. By way of these objections, he shows clearly the ways in which morality varies according to the culture from which it comes and makes this truism seem new by staging it, so to speak, instead of confining it to prose. When he speaks of the theater he almost always means the actors in it—they having drawn the fire, he believes, of all antitheatricalists from time immemorial—and thus has the advantage over other academic writers of a subject that is like an echo of his own words.

More...

https://www.nybooks.com/articles/1982/02/18/the-illegitimate-theater/

***

The Theater's Many Enemies

Building on landmark studies of the early twentieth century,1 a host of scholars over the past few decades have sought to tease out the arguments against the theater in France, England, Spain, Germany, Italy, and beyond.2 With just a cursory glance at the scholarly landscape of early modern Euro- pean anti-theatrical discourse,3 several contextual hot points emerge. One example is sixteenth- and seventeenth-century England, where writers such as Stephen Gosson, William Prynne, and other puritans lambasted what they viewed as the evil effects of the stage.4 Another ripe atmosphere for criticism began in mid seventeenth-century France, where ecclesiastics wrote anti-theatrical sermons and treatises during the heyday of French classical theater, and most notably, against the comedies and tragedies of Pierre de Corneille, Jean Racine, Molière, and others.5

Other sources of anti-theatrical discourse include Jesuits in Spain and in Italy who were hesitant to adopt the pro-dramatic stance that is traditionally associated with members of the Society of Jesus.6 Calvinists and Lutherans were also vocal critics of theater and of artistic representation in German- and Dutch-speaking lands.7

More...

https://digitalcommons.bucknell.edu/cgi/viewcontent.cgi?article=2275&context=fac_journ

***

Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses.

More...

https://muse.jhu.edu/book/20638

***

...one might measure Kafka’s texts through a triangle formed by modernism, theater, and writing. These three terms create an area of congruence: a modernist antitheatricalism, a field determined by a struggle with and against the theater that is the motor of much modernist writing. When Mallarm writes closet dramas that shun the stage as vulgar and celebrate writing as privileged medium; when Joyce in the “Circe” chapter of Ulysses turns to the dramatic form without desire for a stage production; when James rewrites his plays as novels; when Stein creates texts that resemble plays but have no dramutis personae-all these are moments when the most central writers of modernism develop their style by using aspects of the theater to keep it at a distance, by turning the dramatic form against the theater. These writers are far from indifferent to the theater. On the contrary, they testify to the centrality of the theater for modernism, but as something that must be resisted. Likewise, I will argue, Kafka’s prose is not so much theatrical as it is antitheatrical, presenting dramatic and theatrical scenes and characters only to decompose and recompose them according to a specifically literary poetics. Kafka relates to the stage through a resistance to the theater, and it is against this resistance that directors have sought to turn his texts into theatrical performance.

More...

http://www.people.fas.harvard.edu/~puchner/Kafka%27s%20antitheatrical%20gestures.pdf

***

The biggest problem for me is that the theater of the age I live in has almost always tried to be “innovative” and “modern.” And that supposed innovation and modernity often consists in such infelicities as these: if it’s a classic work, you almost never see that work, but a version, adaptation, or recreation by some sly contemporary who thus pockets all the money, given that Sophocles, Shakespeare, Lope de Vega, Molière, Goldoni, and other such luminaries are all out of copyright. These adaptations generally involve the destruction of the classic work: some dispense with verse, if there is any; others dress Julius Caesar, Mark Antony, and Brutus in suit and tie, or as Nazi bigwigs, or have them run around naked throughout the entire play (although there is also a fashion for dressing everyone in a kind of hideous sack, so that they all look the same);

More...

https://www.threepennyreview.com/samples/marias_w17.html

***

Because crap automatically gets a standing ovation, but the good stuff doesn’t get one until the Times rave comes out. … Too many jukebox musicals end with a mixtape medley that has you thinking the whole show was amazing. … If it’s British, it must be better. Except when it’s unbearable. … The producers of Chicago are perfectly willing to water down the Fosse choreography to high school level if they can book a big enough name who happens to be spastic.

More...

https://www.villagevoice.com/2012/02/01/why-i-hate-theater-appalling/

***

I HATE THEATRE

Abraham Lincoln T-shirt

https://www.teepublic.com/t-shirt/3037179-i-hate-theatre

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Bobby Hutcherson

American Folk: John Gorka.

Georges Bizet – L'Arlésienne Suite No. 1: Prelude

Georges Bizet composed L'Arlésienne as incidental music to Alphonse Daudet's play of the same name, usually translated as The Girl from Arles. It was first performed on 1 October 1872 at the Théâtre du Vaudeville in Paris.

Bizet himself played the harmonium backstage at the premiere performance.

Bizet's suite contains several folk-like themes for the music but also incorporated three existing tunes from a folk-music collection.

The play itself was not successful, closing after only 21 performances. It had been staged as a last-minute replacement for another play, which had been banned by the censors, and the audience was less than favorably disposed to the new play. The incidental music has survived and flourished, however. It is most often heard in the form of two suites for orchestra but has also been recorded complete.

The Iceberg Theory Gerald Locklin

all the food critics hate iceberg lettuce.

you'd think romaine was descended from

opheus's laurel wreath,

you'd think raw spinach had all the nutritional

benefits attributed to it by popeye,

not to mention aesthetic subtleties worthy of

verlaine and debussy.

they'll even salivate over chopped red cabbage

just to disparage poor old mr. iceberg lettuce.

I guess the problem is

it's just too common for them.

it doesn't matter that it tastes good,

has a satisfying crunchy texture,

holds  its freshness,

and has crevices for the dressing,

whereas the darker, leafier varieties

are often bitter, gritty, and flat.

it just isn't different enough, and

it's too goddamn american.

of course a critic has to criticize:

a critic has to have something to say.

perhaps that's why literary critics

purport to find interesting

so much contemporary poetry

that just bores the shit out of me.

at any rate, I really enjoy a salad

with plenty of chunky iceberg lettuce,

the more the merrier,

drenched in an italian or roquefort dressing.

and the poems I enjoy are those I don't have

to pretend that I'm enjoying.

I went to the bullfight once..

I went to the bullfights once in Lima Peru. It was the most barbaric thing I’ve ever seen. The rules are weird to. Did you know you pay more to sit on the shady side of the stadium? On the day I went, in the middle of the day on a work day, hundreds of people were jammed into the sunny section and I was virtually alone in the shady section, which drove the Marxist Mick in me crazy. So the bull comes out and basically a young man, the matador, kill him. I mean we can go into more detail on this in a sort Hemingway logic-it’s a masculine thing, but essentially, that’s what happens. You pay to watch a young guy kill an animal.

6 Truths About Finding Your Passion

1. You need to experiment with lots of things.

2. It takes time to discover your true passion in life.

3. What interests you for now might not turn into a passion.

4. However, you’ll find that you return to what you’re passionate about.

5. It will take over your thinking when you’re still, calm or daydreaming.

6. Investing in your passion will give meaning to your life.