Tag Archives: Fear

Getting up One More Time

13 Thursday Oct 2016

Posted by in Sports

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Jack Dempsey

“Jack Dempsey once said, ‘When I was a young fellow I was knocked down plenty. I wanted to stay down, but I couldn’t. I had to collect the two dollars for winning, or go hungry. I had one fight when I was knocked to the ground eleven times before I got up to win. I had to get up. I was a hungry fighter. When you haven’t eaten for two days you’ll understand.’

‘Take the average person walking down the street,’ [Angelo] Dundee continues. ‘One punch in the neck from a fighter will tear his head off. Even things that look simple are tough. Everyone knows a fighter is supposed to keep his hands up. Try it! Don’t even throw punches. Just walk around with your fists clenched at eye level for three minutes and see how tired your arms get.’

There are no shortcuts to becoming a quality fighter. A boxer takes out of training what he puts into it. If he hits the heavy bag hard in training for three minutes a round, he’ll be able to punch hard for three minutes a round during a fight. If he plays pitty-pat with the heavy bag, he’ll get arm weary when the chips are down. Wasted talent is the oldest story in boxing…

No athlete spends emotionally like a fighter. His life is one intimidating situation after another, and to succeed he must be emotionally disciplined in the ring. That means learning to curb anger, making the right mental moves at the right time, and above all conquering fear.”

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Found in Thomas Hauser’s book The Black Lights: Inside the World of Professional Boxing.

Photo: Daily Dose Sports

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Lose Your Fear in the Ring

23 Tuesday Aug 2016

Posted by in Biography, Sports

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Anthony Joshua 2

“Fighters are the most exposed athletes in the world. During a fight, the crowd observes every twitch and movement. Still, spectators rarely see fear in a quality fighter. ‘That,’ says [boxing trainer Cus] D’Amato, ‘is because the fighter has mastered his emotions to the extent that he can conceal and control them.’ But whatever a fighter says, the fear is there. It never goes away. He just learns to live with it. ‘And the truth is,’ D’Amato continues, ‘fear is an aspect to a fighter. It makes him move faster, be quicker and more alert. Heroes and cowards feel exactly the same fear. Heroes just react to it differently. On the morning of a fight, a boxer wakes up and says, “How can I fight? I didn’t sleep at all last night.” What he has to realize is, the other guy didn’t sleep either. Later, as the fighter walks toward the ring, his feet want to walk in the opposite direction. He’s asking himself how he got into this mess. He climbs the stairs into the ring, and it’s like going to the guillotine. Maybe he looks at the other fighter, and sees by the way he’s loosening up that his opponent is experienced, strong, very confident. Then when the opponent takes off his robe, he’s got big bulging muscles. What the fighter has to realize,’ concludes D’Amato, ‘is that he’s got exactly the same effect on his opponent, only he doesn’t know it. And when the bell rings, instead of facing a monster built up by the imagination, he’s simply up against another fighter.'”

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Pulled from a section on Cus D’Amato in Thomas Hauser’s The Black Lights: Inside the World of Professional Boxing.

D’Amato was the trainer behind legends like Floyd Patterson and Mike Tyson, who he adopted at sixteen when Tyson’s mother died. When D’Amato passed away, Tyson discussed his old trainer:

[D’Amato] didn’t know me. He told me with no hesitation that I was going to be the youngest heavyweight champion of all time… If it weren’t for that old, Italian white guy, I would’ve been a bum. Cus D’Amato was a physical person like I am. He was impulsive and impetuous like me. If somebody upset him, he would just go after them — even at 75… the psychologists would’ve had a field day with him.

He’s simply up against another fighter… It applies to a lot of life.

Move along:

Photo courtesy of Irish Mirror

Shostakovich and Music as a Protest against Death

12 Wednesday Nov 2014

Posted by in History

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Dmitri Shostakovich

“Shostakovich knew that death — unless it came in the form of heroic martyrdom — was not an appropriate subject for Soviet art, that it was ‘tantamount to wiping your nose on your sleeve in company.’ He could not have the Dies Irae blaze from his scores; he had to be musically covert. But increasingly, the cautious composer found the courage to draw his sleeve across his nostrils, especially in his chamber music. His last works often contain long, slow, meditative invocations of mortality. The violist of the Beethoven Quartet was once given the following advice about the first movement of the fifteenth quartet by its composer: ‘Play it so that the flies drop dead in mid-air.'”

“At the premiere, Shostakovich overcame his usual shyness to explain to the audience that, ‘Life is man’s dearest possession. It is given to him only once and he should live so as not to experience acute pain at the thought of the years wasted aimlessly or feel searing shame for his petty and inglorious past, but be able to say, at the moment of death, that he has given all his life and energies to the noblest cause in the world – to fight for the liberation of humanity. I want listeners to this symphony to realize that ‘life’ is truly beautiful. My symphony is an impassioned protest against death, a reminder to the living that they should live honestly, conscientiously, nobly, never committing a base act. This is very important for much time will pass before scientists have succeeded in ensuring immortality. Death is in store for all of us and I for one do not see any good in the end of our lives. Death is terrifying. There is nothing beyond it.’ … [Shostakovich] disagreed with all the composers who had portrayed death with music that was beautiful, radiant and ecstatic. For him, death really was the end and he took that as an inspiration to make sure that he lived his life to its full.”

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Paragraphs excerpted from Julian Barnes’s Nothing to Be Frightened Of and the meticulous notes of composer Mark Wigglesworth. A fly-stunning version of Shostakovich’s fifteenth quartet is here.

Both writers cite a further, clarifying reflection from Shostakovich, which MW describes, “In the disputed memoirs… [Shostakovich] talks revealingly about death:

Fear of death may be the most intense emotion of all. I sometimes think that there is no deeper feeling. The irony lies in the fact that under the influence of that fear people create poetry, prose and music; that is they try to strengthen their ties with the living and increase their influence on them. How can you not fear death? […] We should think more about it and accustom ourselves to it. We can’t allow the fear of death to creep up on us unexpectedly. I think that if people began thinking about death sooner, they would make fewer mistakes.

Shostakovich makes the common though deeply misguided assumption that death serves no purpose — that there is not “any good in the end of our lives.” Of course there are individual tragedies which aren’t, in any sense, “good.” But death does the essential business of lending life a clarity and urgency it otherwise would not have. Saul Bellow’s brilliant metaphor, that death is “the dark backing a mirror needs before we can see ourselves,” sets the idea in place: without an ending, albeit an opague one, there is no way to focus on ourselves.

In case that metaphor hasn’t fully absorbed, Alan Lightman’s short story collection Einstein’s Dreams features a fictional world in which people live forever. He characterizes the tragedy of these immortal inhabitants:

[T]hey can do all they can imagine. They will have an infinite number of careers, they will marry an infinite number of times, they will change their politics infinitely. Each person will be a lawyer, a bricklayer, a writer, an accountant, a painter, a physician, a farmer…

With infinite life comes an infinite list of relatives. Grandparents never die, nor do great-grandparents, great-aunts and great-uncles, great-great-aunts, and so on, back through the generations, all alive and offering advice. Sons never escape from the shadows of their father. Nor do daughters of their mothers. No one ever comes into his own.

Such is the cost of immortality. No person is whole. No person is free.

More:

  • Barnes looks at how his understanding of mortality changed as he entered adulthood
  • Sam Harris puts a fine point on the tragedy of wasted time
  • Neurologist David Eagleman explains how consciousness may transcend the physical brain

Dmitri Shostakovich

Is the World Getting Worse?

29 Friday Aug 2014

Posted by in Literature

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Martin Amis

“You ask yourself the question every time you open a newspaper or switch on the TV or walk the streets… You know the question. It reads: Just what the hell is going on around here?

The world looks worse every day. Is it worse, or does it just look it? The world gets older. The world has seen and done it all. Boy, is it beat. It’s suicidal… the world has done too many things too many times with too many people, done it this way, that way, with him, with him. The world has been to so many parties, been in so many fights, lost its keys, had its handbag stolen, drunk too much. It all adds up. A tab is presented. Our ironic destiny. Look at the modern infamies, the twentieth-century sins. Some are strange, some banal, but they all offend the eye, covered in their newborn vernix. Gratuitous or recreational crimes of violence, the ever-less-tacit totalitarianism of money (money—what is this shit anyway?), the pornographic proliferation, the nuclear collapse of the family (with the breeders all going critical, and now the children running too), the sappings and distortions of a mediated reality, the sexual abuse of the very old and the very young (of the weak, the weak): what is the hidden denominator here, and what could explain it all?

To paraphrase Bujak, as I understood him. We live in a shameful shadowland. Quietly, our idea of human life has changed, thinned out. We can’t help but think less of it now. The human race has declassed itself. It does not live anymore; it just survives, like an animal. We endure the suicide’s shame, the shame of the murderer, the shame of the victim. Death is all we have in common. And what does that do to life?”

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Martin Amis, writing in the short story “Bujak and the Strong Force, or God’s Dice,” contained in his collection Einstein’s Monsters.

Martin Amis

Bernard Baruch: We Need an International Law with Teeth

07 Wednesday May 2014

Posted by in Speeches, War

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Bernard Baruch

“The basis of a sound foreign policy, in this new age, for all the nations here gathered, is that anything that happens, no matter where or how, which menaces the peace of the world, or the economic stability, concerns each and all of us…

Now, if ever, is the time to act for the common good. Public opinion supports a world movement toward security. If I read the signs aright, the peoples want a program not composed merely of pious thoughts but of enforceable sanctions — an international law with teeth in it…

Let this be anchored in our minds: Peace is never long preserved by weight of metal or by an armament race. Peace can be made tranquil and secure only by understanding and agreement fortified by sanctions. We must embrace international cooperation or international disintegration…

The solution will require apparent sacrifice in pride and in position, but better pain as the price of peace than death as the price of war.”

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From Bernard Baruch’s 1946 speech “A Choice between the Quick and the Dead”.

Though he would in the following year coin the term “Cold War”, Baruch concluded this speech with the ungrudging proposal that all nuclear weapons be placed — through a thirteen-step procedure — under some intergovernmental authority. You think that sounds idealistic? Yeah, me too. Or at least anachronistic, especially in a time when the international community flounders purposelessly, not only in its attempt to curb the annexation of Eastern Ukraine, but also in keeping track of a massive commercial airliner with 200 cell-phones on board. What would it possibly do with a couple thousand nuclear bombs?

Though the number of active nukes has shriveled to around 4,100 from a peak of 68,000 in 1985, Baruch’s point is a serious one, especially when our attention is drawn to the Korean Peninsula or the once-unified Pashtun region split between Pakistan and India. Neither of those two neighbors, nor the hermit kingdom of the Kim dynasty, is yet to sign the Comprehensive Nuclear Test Ban Treaty, even though they are armed with an estimated 200-plus total (though not all active) warheads.

As someone born in 1989, I’ve never felt the disquiet of a duck-and-cover drill. Nor did I spend geography week in Kindergarten as my mom did: ogling anxiously at the massive Soviet Union — a red Rorschach blot that provoked only ugly words. Fear. Danger. Enemy. Still, if we can form a post-9/11 position toward nuclear weapons, it must rest on the tension between the unfortunate fact and terrifying contingency which follow: The human animal’s technological progress is outpacing its moral progress; what happens when an apocalyptic ideology lays its hands on apocalypse-inducing weaponry? In other words: can there be any doubt that if Muhammad Atta had a nuclear bomb, he would have used it?

There are two additional paragraphs, supplied by Martin Amis in his suggestively titled Einstein’s Monsters (1987), which illuminate a critical generational difference in our attitudes towards the inevitability of living with nukes.

My father regards nuclear weapons as an unbudgeable given. They will always be necessary because the Soviets will always have them and the Soviets will always want to enslave the West. Arms agreements are no good because the Soviets will always cheat. Unilateral disarmament equals surrender. And anyway, it isn’t a case of “red or dead.” The communist world is itself nuclear-armed and deeply divided: so it’s a case of “red and dead.”

Well, dead, at any rate, is what this prescription seems to me to promise. Nuclear weapons, my father reminds me, have deterred war for forty years. I remind him that no global abattoir presided over the century-long peace that followed Napoleon’s discomfiture in 1815. And the trouble with deterrence is that it can’t last out the necessary time-span, which is roughly between now and the death of the sun.

Read on:

  • I describe how Baruch became the original “Wolf of Wall Street”
  • Einstein, Orwell, and Steinbeck riff on the evils of militarism
  • Andrew Bacevich connects the concept of ‘original sin’ to the prospect of future war

Bernard Baruch