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It turns out procrastination is not typically a function of laziness, apathy or work ethic as it is often regarded to be. It’s a neurotic self-defense behavior that develops to protect a person’s sense of self-worth.
You see, procrastinators tend to be people who have, for whatever reason, developed to perceive an unusually strong association between their performance and their value as a person. This makes failure or criticism disproportionately painful, which leads naturally to hesitancy when it comes to the prospect of doing anything that reflects their ability — which is pretty much everything.
But in real life, you can’t avoid doing things. We have to earn a living, do our taxes, have difficult conversations sometimes. Human life requires confronting uncertainty and risk, so pressure mounts. Procrastination gives a person a temporary hit of relief from this pressure of “having to do” things, which is a self-rewarding behavior. So it continues and becomes the normal way to respond to these pressures.
Particularly prone to serious procrastination problems are children who grew up with unusually high expectations placed on them. Their older siblings may have been high achievers, leaving big shoes to fill, or their parents may have had neurotic and inhuman expectations of their own, or else they exhibited exceptional talents early on, and thereafter “average” performances were met with concern and suspicion from parents and teachers."
…oh. This explains a lot.
::quietly raises hand::
The curtain rose and Rodriguez and his band started blasting Only good for conversation off Cold Fact (1970). The atmosphere in the stadium instantly became tense; it was not a great start.
Rodriguez, it seems, has become quite popular in South Africa, yet the demographic of the stadium showed his audience to be much more specifically from the white upper class. It’s up for debate as to whether this is a distribution of wealth issue (with tickets starting at ~R315) or a commentary on the demographic of Rodriguez’ fans back in the 70s when the album first made waves in South Africa. The recent Searching for Sugar Man touches on the silent struggle against apartheid from the perspective of the majority of white South Africans and how Cold Fact represented an eye opener and a sort of escape for those living in comfort in a very broken country.
Firstly, the music for once started on time and that credit goes to the organizer, Xavier Stanton, for running a smooth ship. Regular live-music goers spend too many nights in a dark, cold-room filled with smoke, patiently waiting for a gig to start. Carnival Court was neither dark nor depressingly cold; the latter is largely explained by the vibrant crowd that packed the place with their joyous cheers and attentive smiles.