Inspiring Journalists Quotes

Because the world is so corrupted, misspoken, unstable, exaggerated and unfair, one should trust only what one can experience with one's own senses, and THIS makes the senses stronger in Italy than anywhere in Europe. This is why, Barzini says, Italians will tolerate hideously incompetent generals, presidents, tyrants, professors, bureaucrats, journalists and captain of industry, but will never tolerate incompetent opera singers, conductors, ballerinas, courtesans, actors, film directors, cooks, tailors... In a world of disorder and disaster and fraud, sometimes only beauty can be trusted. Only artistic excellence is incorruptible. Pleasure cannot be bargained down. And sometimes the meal is the only currency that is real.

Beheading, burying and burning humans alive are extreme acts of cruelty. Such crimes against humanity must be investigated and the guilty parties brought to justice. May ALL victims rest in peace!

I had covered wars in Croatia, Bosnia, Kosovo, Sierra Leone, Iraq and elsewhere, but the work had started to feel routine. I wanted to leave the journalistic herd, to find a project that would both daunt and inspire me. Facing down the Congo was just such a project.

A writer reports on the universe. When he presents his credentials, the gates of heaven and hell are equally opened to him. He can hear the devil’s defense and god’s accusations. The guards at the king’s heart let him in. The writer can be anything and any one he wants. When he writes he is a god, he creates.

The war for the Narmada valley is not just some exotic tribal war, or a remote rural war or even an exclusively Indian war. Its a war for the rivers and the mountains and the forests of the world. All sorts of warriors from all over the world, anyone who wishes to enlist, will be honored and welcomed. Every kind of warrior will be needed. Doctors, lawyers, teachers, judges, journalists, students, sportsmen, painters, actors, singers, lovers . . . The borders are open, folks! Come on in.

About Parlabane, Brookmyre says: "To fully acknowledge the extent of the debt I owe Douglas Adams - as a reader and a writer - would very possibly crash this server, so I will merely cite one significant example. I am frequently asked who was the inspiration for my investigative journalist Jack Parlabane; whether he has some real-life antecedent or represents some indulgent alter-ego of mine. The truth is that Parlabane was entirely inspired by Ford Prefect: I always adored the idea of a character who cheerfully wanders into enormously dangerous situations and effortlessly makes them much worse.

If God so precisely and carefully and lovingly and amazingly constructed a mind-boggling habitat for His creatures, then it would be natural for Him to want them to explore it, to measure it, to investigate it, to appreciate it, to be inspired by it--and ultimately, and most importantly, to find Him through it.

Journalism is all about headlines and deadlines. The adrenaline rush is real so if the news doesn't interest or invigorate you, this is probably not the profession for you.

The only private sector industry where employees work with their lives on stake for the interest of common people is media industry.

Minimalism is a way of living at the maximum of your potential.

You sorta lose the fear of failure when everyone thinks you already gave it your best shot and blew it.

William Wordsworth was said to have walked 180,000 miles in his lifetime. Charles Dickens captured the ecstasy of near-madness and insomnia in the essay “Night Walks” and once said, “The sum of the whole is this: Walk and be happy; Walk and be healthy.” Robert Louis Stevenson wrote of “the great fellowship of the Open Road” and the “brief but priceless meetings which only trampers know.” Friedrich Wilhelm Nietzsche said, “Only those thoughts that come by walking have any value.” More recently, writers who knew the benefits of striking out excoriated the apathetic public, over and over again, for its laziness. “Of course, people still walk,” wrote a journalist in Saturday Night magazine in 1912. “That is, they shuffle along on their own pins from the door to the street car or taxi-cab…. But real walking … is as extinct as the dodo.” “They say they haven’t time to walk—and wait fifteen minutes for a bus to carry them an eighth of a mile,” wrote Edmund Lester Pearson in 1925. “They pretend that they are rushed, very busy, very energetic; the fact is, they are lazy. A few quaint persons—boys chiefly—ride bicycles.

The whole civilized world runs on trust - people trust journalists to provide accurate information, doctors to provide accurate treatment, scientists to provide accurate answers and solutions to unanswered questions and unsolved problems, pilots to provide safe and fast air transportation, and so on. So, the integrity of the civilized world is predicated on the integrity of the individual in their chosen field of work. Upon their sense of responsibility depends the healthy functioning of an entire species.

Shockingly (to maybe only me), being in a relationship has done the opposite of limiting me. It's emboldened me to try something much scarier than I would have tried if I were alone. Maybe Rachel the Hasidic journalist was right: love frees you to be the person you actually are.

Over my entire career in editing, I don't think I've encountered more than half a dozen difficult authors. By "difficult," I mean a writer who simply does not want changes made to his manuscript and is not even prepared to discuss them. We know the stereotypes: The hotshot journalist jealous of every comma. The poet who claims that his misspellings and eccentric punctuation are inspired. Assistant professors writing a first book for tenure are notorious for their inflexibility, and understandably so: their futures are at stake. They take editing personally; red marks on their manuscripts are like little stab wounds. And then there are vain authors who quarrel when we lowercase their job titles, who want their photos plastered all over the piece or their names in larger type. And don't get me started on writers who don't know what they're talking about, writers who are your boss, writers who are former high school English teachers.

Elie Wiesel warned us that there may be times when we are powerless to prevent injustice, but there must never be a time when we fail to protest. Maria’s legacy will be felt for generations—because she never failed to protest, to try to bend the arc of history toward justice. And when young Filipino students study history, they will find that the first Filipino person ever to be awarded the Nobel Peace Prize was a courageous journalist determined to tell the truth. I hope that, for the sake of future generations, they will be inspired by her example.

Dotcom believes one of the reasons he was targeted was his support for Wikileaks founder Julian Assange. He says he was compelled to reach out to the site after US soldier Bradley Manning leaked documents to it. The infamous video recording of the Apache gunship gunning down a group of Iraqis (some of whom, despite widespread belief to the contrary, were later revealed to have been armed), including two Reuters journalists, was the trigger. “Wow, this is really crazy,” Dotcom recalls thinking, watching the black-and-white footage and hearing the operators of the helicopter chat about firing on the group. He made a €20,000 donation to Wikileaks through Megaupload’s UK account. “That was one of the largest donations they got,” he says. According to Dotcom, the US, at the time, was monitoring Wikileaks and trying better to understand its support base. “My name must have popped right up.” The combination of a leaking culture and a website dedicated to producing leaked material would horrify the US government, he says. A willing leaker and a platform on which to do it was “their biggest enemy and their biggest fear . . . If you are in a corrupt government and you know how much fishy stuff is going on in the background, to you, that is the biggest threat — to have a site where people can anonymously submit documents.” Neil MacBride was appointed to the Wikileaks case, meaning Dotcom shares prosecutors with Assange. “I think the Wikileaks connection got me on the radar.” Dotcom believes the US was most scared of the threat of inspiration Wikileaks posed. He also believes it shows just how many secrets the US has hidden from the public and the rest of the world. “That’s why they are going after that so hard. Only a full transparent government will have no corruption and no back door deals or secret organisations or secret agreements. The US is the complete opposite of that. It is really difficult to get any information in the US, so whistleblowing is the one way you can get to information and provide information to the public.

If this past election and our present political, social, and environmental upheavals have done nothing else, they have inspired a new generation of thinkers. From poets to activists to journalists to scholars, the raw and gritty realities we face as a nation and as global citizens are being exposed, dissected, and examined. Freedom of the press, freedom of expression, freedom of speech, and the right to peacefully protest are not the luxuries of a free society, they are the defenders,supporters, and protectors of a free society. They are what make a free society possible. The solutions to our problems will no doubt be lengthy, complex, and difficult, but a generation awakened from the lethal sleep of apathy is a beginning. And that offers true hope for our future.

[THE DAILY BREATH] Blaise Pascal, the famous mathematician, once said: "To those who wish to see, God gives them sufficient light. To those who doesn't wish to see, God gives them sufficient darkness." Seeing the Truth is a choice. Listening to my words is a choice. Healing is a choice. If want scientific evidence about the existence of God, there is a wealth of data to support it. Dr. Jeffrey Long, M.D. used the best scientific techniques available today to study more than 4,000 people who had near-death experiences and found themselves face to face with our Heavenly Father. Read the book "God and the Afterlife" and you will find it. If you want scientific evidence about Jesus being the Son of God, Lee Strobel, an atheist investigative journalist discovered it. Read the book "The Case for Christ" and you will find it. If you want scientific evidence about Jesus still healing today, study the ministries of Dr. Charles Ndifon, T.L. Osborn, Kathryn Kuhlman among others, and you will find it. But most importantly, if you want to fill the emptiness within you, and experience the perfect love, mercy and forgiveness, if you want to live in the peace of our Heavenly Father, give your body, your mind and your heart to Christ. Give your life to Jesus. The empty place you feel in your heart is reserved only for the spirit of Christ and nothing from this world will fill it. Look up to heaven, behold Jesus and Live.

Palo Mayombe is perhaps best known for its display of human skulls in iron cauldrons and accompanied by necromantic practices that contribute to its eerie reputation of being a cult of antinomian and hateful sorcerers. This murky reputation is from time to time reinforced by uninformed journalists and moviemakers who present Palo Mayombe in similar ways as Vodou has been presented through the glamour and horror of Hollywood. It is the age old fear of the unknown and of powers that threaten the established order that are spawned from the umbra of Palo Mayombe. The cult is marked by ambivalence replicating an intense spectre of tension between all possible contrasts, both spiritual and social. This is evident both in the history of Kongo inspired sorcery and practices as well as the tension between present day practitioners and the spiritual conclaves of the cult. Palo Mayombe can be seen either as a religion in its own right or a Kongo inspired cult. This distinction perhaps depends on the nature of ones munanso (temple) and rama (lineage). Personally, I see Palo Mayombe as a religious cult of Creole Sorcery developed in Cuba. The Kongolese heritage derives from several different and distinct regions in West Africa that over time saw a metamorphosis of land, cultures and religions giving Palo Mayombe a unique expression in its variety, but without losing its distinct nucleus. In the history of Palo Mayombe we find elite families of Kongolese aristocracy that contributed to shaping African history and myth, conflicts between the Kongolese and explorers, with the Trans-Atlantic slave trade being the blood red thread in its development. The name Palo Mayombe is a reference to the forest and nature of the Mayombe district in the upper parts of the deltas of the Kongo River, what used to be the Kingdom of Loango. For the European merchants, whether sent by the Church to convert the people or by a king greedy for land and natural resources, everything south of present day Nigeria to the beginning of the Kalahari was simply Kongo. This un-nuanced perception was caused by the linguistic similarities and of course the prejudice towards these ‘savages’ and their ‘primitive’ cultures. To write a book about Palo Mayombe is a delicate endeavor as such a presentation must be sensitive both to the social as well as the emotional memory inherited by the religion. I also consider it important to be true to the fundamental metaphysical principles of the faith if a truthful presentation of the nature of Palo Mayombe is to be given. The few attempts at presenting Palo Mayombe outside ethnographic and anthropological dissertations have not been very successful. They have been rather fragmented attempts demonstrating a lack of sensitivity not only towards the cult itself, but also its roots. Consequently a poor understanding of Palo Mayombe has been offered, often borrowing ideas and concepts from Santeria and Lucumi to explain what is a quite different spirituality. I am of the opinion that Palo Mayombe should not be explained on the basis of the theological principles of Santeria. Santeria is Yoruba inspired and not Kongo inspired and thus one will often risk imposing concepts on Palo Mayombe that distort a truthful understanding of the cult. To get down to the marrow; Santeria is a Christianized form of a Yoruba inspired faith – something that should make the great differences between Santeria and Palo Mayombe plain. Instead, Santeria is read into Palo Mayombe and the cult ends up being presented at best in a distorted form. I will accordingly refrain from this form of syncretism and rather present Palo Mayombe as a Kongo inspired cult of Creole Sorcery that is quite capable

Nostromo is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the Typhoon volume of short stories. I don’t mean to say that I became then conscious of any impending change in my mentality and in my attitude towards the tasks of my writing life. And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finishing the last story of the Typhoon volume it seemed somehow that there was nothing more in the world to write about. This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for Nostromo came to me in the shape of a vagrant anecdote completely destitute of valuable details. As a matter of fact in 1875 or ’6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution. On the face of it this was something of a feat. But I heard no details, and having no particular interest in crime qua crime I was not likely to keep that one in my mind. And I forgot it till twenty-six or seven years afterwards I came upon the very thing in a shabby volume picked up outside a second-hand book-shop. It was the life story of an American seaman written by himself with the assistance of a journalist. In the course of his wanderings that American sailor worked for some months on board a schooner, the master and owner of which was the thief of whom I had heard in my very young days. I have no doubt of that because there could hardly have been two exploits of that peculiar kind in the same part of the world and both connected with a South American revolution.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Service journalists. That's how an editor-in-chief described us to a roomful of corporate communicators. We are, he said, purveyors of ideas, of information and inspiration through writing intended to produce a positive response. Call what we do, then, action journalism. Transcending the mere delivery of information, it is writing with the expectation that our readers will act as a result of reading our words. And because of what we expect from them as a result of our efforts, a huge difference separates our kind of writing from the standard journalist's. They report and analyze. We report and advocate. They help sell newspapers and magazines. We help achieve organizational goals by influencing action. We create and enhance employee, shareholder, and customer confidence, build faith in corporate leadership, pride in its products. We heighten employee morale, foster belief in our company's intrinsic worth and trust in its mission. Ours is journalism with a definite slant, specific points of view, ulterior motives, particular objectives, all tilted toward the company, institution, association, or agency employing us.

He began to think, here, of local intellectuals such as the pulavar and of his friends in the Readers’ Circle, as keys to this side of the struggle. That is, he began to argue that if one viewed such intellectuals as ‘folk repositories’ of local knowledge, then it was obvious that they had a dual potential. Dual because, on the one hand, such intellectuals could be (and mostly were) co-opted by the hegemonic ‘web’ as teachers, graduate students, journalists, and so forth, in which case they merely, ‘organically,’ reproduced the overmastering ‘web’; yet, on the other hand, they could become (to their peril and inherent risk) the central sources of inspiration and knowledge for the production of a counter-hegemonic revolution. He began to imagine this duality as a singular, existential choice open to such intellectuals, to all intellectuals, and to himself.

Twitter is not just for Journalists. You don’t have to be a writer to Tweet.[Social Media]

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

cultural journalists, anthropologists, and historians. An outgrowth of the work of educators associated with the Foxfire project that took the nation by storm in the 1970s and 1980s, this approach focuses on involving students in fine-grained investigations of the lives of people in their own communities, both in the present and in the past. The Foxfire journals and books explored the unique characteristics of Appalachian culture in northern Georgia. They inspired the development of similar journals and books across the United States and became the basis for an educational model that affected hundreds if not thousands of teachers through Foxfire training institutes;

As we try to learn from the past, we form patterns of thinking based on our experiences, not realizing that the things that happened have an unfair advantage over the things that didn’t. In other words, we can’t see the alternatives that might well have happened if not for some small chance event. When a bad thing happens, people will draw conclusions that might include conspiracy or forces acting against them or, conversely, if a good thing happens, that they are brilliant and deserving. But these kinds of misperceptions ultimately deceive us. And this has consequences in business—and for the way we manage. When companies are successful, it is natural to assume that this is a result of leaders making shrewd decisions. Those leaders go forward believing that they have figured out the key to building a thriving company. In fact, randomness and luck played a key role in that success. If you run a business that is covered with any frequency by the media, you may face another challenge. Journalists tend to look for patterns that can be explained in a relatively small number of words. If you haven’t done the work of teasing apart what is random and what you have intentionally set in motion, you will be overly influenced by the analysis of outside observers, which is often oversimplified. When managing a company that is often in the news, as Pixar is, we must be careful not to believe our own hype. I say this knowing that it is difficult to resist, especially when we are flying high and tempted to think we have done everything right. But the truth is, I have no way of accounting for all of the factors involved in any given success, and whenever I learn more, I have to revise what I think. That’s not a weakness or a flaw. That’s reality.

Islam from the beginning was primarily predisposed toward one particular people. There is very little doubt that in its inception, Islam was a geopolitical reaction to the other groups around them. Even those sympathetic to Islam, such as Ali Dashti, the noted Iranian journalist, comment that the greatest miracle in Islam is that it gave Mohammed’s followers an identity, something they had lacked as various warring tribal groups. The very language of the Koran is restrictive. To claim that Mohammed’s only miracle was the Koran and then to state that one cannot recognize the miracle unless one knows the language makes a miracle anything but universal. How can a “prophet to the world” be so narrowly restricted to a language group? The Koran, it is said, is only inspired in the original language—no other language can bear the miracle. The narrowness of its ethnic appeal cannot be ignored.

The Interview is a 2014 American action comedy film co-produced and directed by Seth Rogen and Evan Goldberg in their second directorial work, following This Is the End (2013). The screenplay was written by Dan Sterling, based on a story he co-wrote with Rogen and Goldberg. The film stars Rogen and James Franco as journalists who set up an interview with North Korean leader Kim Jong-un (Randall Park), and are then recruited by the CIA to assassinate him. The film is heavily inspired by a 2012 Vice documentary.In June 2014, The Guardian reported that the film had "touched a nerve" within the North Korean government, as they are "notoriously paranoid about perceived threats to their safety.” The Korean Central News Agency (KCNA), the state news agency of North Korea, reported that their government promised "stern" and "merciless" retaliation if the film was released. KCNA said that the release of a film portraying the assassination of the North Korean leader would not be allowed and it would be considered the "most blatant act of terrorism and war. Wikipedia

The journalist Mason Currey, who spent half a decade cataloging the habits of famous thinkers and writers (and from whom I learned the previous two examples), summarized this tendency toward systematization as follows: There is a popular notion that artists work from inspiration—that there is some strike or bolt or bubbling up of creative mojo from who knows where… but I hope [my work] makes clear that waiting for inspiration to strike is a terrible, terrible plan. In fact, perhaps the single best piece of advice I can offer to anyone trying to do creative work is to ignore inspiration.

I would also encourage you to see the text literarily. (Did your brain fill in a different word you were expecting?!) By literarily, I mean that you accept the text as what it is, which is a piece of literature. It is holy, inspired literature, but it is literature nonetheless. Genesis 3 is not journalistic live reporting. It is a story passed down through storytelling from one generation to the next, until at last we had the means of writing the story down to preserve for future generations. It has an audience, and a narrator, and primary characters. Because it’s good literature, it has a crisis, and a climax, and a resolution, too. Rather than asking the text to be the first, sole, or primary spiritual, philosophical, psychological, and sociological statement about humanity, we could choose instead to accept it as what it is: a story from scripture, meant to provoke us in ways that will move us toward God. It can far and away exceed that particular expectation.

Palo Mayombe is perhaps best known for its display of human skulls in iron cauldrons and accompanied by necromantic practices that contribute to its eerie reputation of being a cult of antinomian and hateful sorcerers. This murky reputation is from time to time reinforced by uninformed journalists and moviemakers who present Palo Mayombe in similar ways as Vodou has been presented through the glamour and horror of Hollywood. It is the age old fear of the unknown and of powers that threaten the established order that are spawned from the umbra of Palo Mayombe. The cult is marked by ambivalence replicating an intense spectre of tension between all possible contrasts, both spiritual and social. This is evident both in the history of Kongo inspired sorcery and practices as well as the tension between present day practitioners and the spiritual conclaves of the cult. Palo Mayombe can be seen either as a religion in its own right or a Kongo inspired cult. This distinction perhaps depends on the nature of ones munanso (temple) and rama (lineage). Personally, I see Palo Mayombe as a religious cult of Creole Sorcery developed in Cuba. The Kongolese heritage derives from several different and distinct regions in West Africa that over time saw a metamorphosis of land, cultures and religions giving Palo Mayombe a unique expression in its variety, but without losing its distinct nucleus. In the history of Palo Mayombe we find elite families of Kongolese aristocracy that contributed to shaping African history and myth, conflicts between the Kongolese and explorers, with the Trans-Atlantic slave trade being the blood red thread in its development.

organizations feel pressure to be relevant in the digital era, stories have become a hot topic in marketing communication. Many firms have added processes and structures that enable them to find, create and evaluate strong stories. They have also added journalists and filmmakers to their staffs to present these stories in a compelling way.

The goal of the ministry is the maturity of the saints. Paul expressed that clearly in Ephesians 4:11-13: “[Christ] gave some as apostles, and some as prophets, and some as evangelists, and some as pastors and teachers, for the equipping of the saints for the work of service, to the building up of the body of Christ; until we all attain to the unity of the faith, and of the knowledge of the Son of God, to a mature man, to the measure of the stature which belongs to the fulness of Christ.” That goal was shared by Epaphras, the founder of the Colossian church: “Epaphras, who is one of your number, a bondslave of Jesus Christ, sends you his greetings, always laboring earnestly for you in his prayers, that you may stand perfect and fully assured in all the will of God” (Col. 4:12). Our aim is not merely to win people to Christ, but to bring them to spiritual maturity. They will then be able to reproduce their faith in others. In 2 Timothy 2:2 Paul charged Timothy, “The things which you have heard from me in the presence of many witnesses, these entrust to faithful men, who will be able to teach others also.” To be complete, or mature, is to be like Christ. Although all Christians strive for that lofty end, no one on earth has arrived there yet (cf. Phil. 3:12). Every believer, however, will one day attain it. “Beloved, now we are children of God, and it has not appeared as yet what we shall be. We know that, when He appears, we shall be like Him, because we shall see Him just as He is” (1 John 3:2). Christians move toward maturity by feeding on God’s Word: “All Scripture is inspired by God and profitable for teaching, for reproof, for correction, for training in righteousness; that the man of God may be adequate, equipped for every good work” (2 Tim. 3:16-17). The Colossian heretics believed perfection was only for the elite, a view shared by many others throughout history. The American journalist Walter Lippmann wrote, As yet, no teacher has ever appeared who was wise enough to know how to teach his wisdom to all mankind. In fact, the great teachers have attempted nothing so Utopian. They were quite well aware how difficult for most men is wisdom, and they have confessedly stated that the perfect life was for the select few. In contrast, Christ offers spiritual maturity to every man and woman.

Eva, my love, It’s over. One way or another, everything comes to an end. It’s all over some day. That’s perhaps one of the most fascinating truths we know about the entire universe. The stars die, the galaxies die, the planets die. And people die too. I’ve never been a believer, but the day I became interested in astronomy, I think I put aside all that was left of my fear of death. I’d realized that in comparison to the universe, a human being, a single human being, me … is infinitely small. Well, I’m not writing this letter to deliver a profound religious or philosophical lecture. I’m writing to tell you “farewell.” I was just talking to you on the phone. I can still hear the sound of your voice. I imagine you, before my eyes … a beautiful image, a lovely memory I will keep until the end. At this very moment, reading this letter, you know that I am dead. There are things that I want you to know. As I leave for Africa, I’m aware of what’s waiting for me. I even have the feeling that this trip could bring about my death, but it’s something that I have to experience, in spite of everything. I wasn’t born to sit in an armchair. I’m not like that. Correction: I wasn’t like that … I’m not going to Africa just as a journalist, I’m going above all on a political mission, and that’s why I think this trip might lead to my death. This is the first time I’ve written to you knowing exactly what to say: I love you, I love you, love you, love you. I want you to know that. I want you to know that I love you more than I’ve ever loved anyone. I want you to know I mean that seriously. I want you to remember me but not grieve for me. If I truly mean something to you, and I know that I do, you will probably suffer when you learn I am dead. But if I really mean something to you, don’t suffer, I don’t want that. Don’t forget me, but go on living. Live your life. Pain will fade with time, even if that’s hard to imagine right now. Live in peace, my dearest love; live, love, hate, and keep fighting. … I had a lot of faults, I know, but some good qualities as well, I hope. But you, Eva, you inspired such love in me that I was never able to express it to you. … Straighten up, square your shoulders, hold your head high. Okay? Take care of yourself, Eva. Go have a cup of coffee. It’s over. Thank you for the beautiful times we had. You made me very happy. Adieu. I kiss you goodbye, Eva. From Stieg, with love.

...an astonishing blend of cultural history, multi-arts criticism, and memoir, moving with dazzling fluency across the hybrid worlds of visual and performance art, dance and music-theater, and experimental just-about-everything... Coe celebrates the mad pioneers of America’s most surreal cultural era in a gorgeous, insightful prose that matches their marvels.”        - Todd London, This Is Not My Memoir (with Andre Gregory, FSG) “...Compiled from published and unpublished writings, this volume reflects Coe’s extraordinary ability to craft smart journalistic profiles of epochal theater and dance artists with the Olympian sweep of an academic researcher and more than a streak of gonzo memoirist.”       - Don Shewey, Critic and Writer “...a truly personal opus and one that captivates as well as inspires... brimming with imagery and rich pathos that never seem over-indulgent or forced... Coe's book is certain to delight anyone who picks it up."        - Robert Buccellato, the US Review of Books "...a bit of Norman Mailer with a splash of Joan Didion, but all in all, the book has an eclectic style all its own. It’s postmodernism with a smirk and a twinkle. If you were there, you’ll be glad to go back again. If you weren’t there, you’re going to feel as if you were."        - Des McAnuff, Playwright, Songwriter, Director

What's inspired me so much about doing this book is that you are another facet of me. Obviously, being in the 'journalist' role, you are the most weak, facile and spineless side of me, but you're still me

As an author one of the most common things I get asked is, ‘where d’you get your ideas from?’ It’s the sixty-thousand dollar question and one that strikes fear and dread into the heart of most writers. As though we have an Ideas Factory, the location of which a closely guarded secret, lest someone else discovers it and we’re left adrift in the wilderness, without even a thinly disguised trope to keep us warm. Or perhaps there’s some dodgy geezer down the pub, sitting alone at the back, nursing his pint, a bag of ideas under the counter, waiting patiently for desperate writers to approach willing to give their last penny for a decent plot-line. The truth is much more mundane; ideas, for me anyway, just seem to evolve. A seed of an idea can be planted from the most ordinary source. As a journalist all of my books are inspired by real life. My main character Oonagh O’Neil is a journalist (I took the ‘write about what you know' rather literally with this one) and the stories she investigates have all come from news items I’ve either covered myself, or have been interested in.

WEALTH HAS BECOME SO EFFECTIVE FOR MANY JOURNALISTS AND WRITERS THAT EVEN THE PEN HAS BECOME INDEBTED TO POLITICS.

A JOURNALIST SHOULD KEEP THE INTEREST OF THE COUNTRY PARAMOUNT. EVERYTHING ELSE COMES LATER.

The journalist Dan Lyons joined a tech start-up after being downsized from Newsweek in 2012, and the experience inspired him to write a book about how Bay Area norms have infected the American workplace, Lab Rats: How Silicon Valley Made Work Miserable for the Rest of Us. Nominally egalitarian but oppressive in practice, the start-up spirit insists that everyone be super psyched about their jobs all the time. No one is actually loyal to the organziation in the sense of intending to work there for longer than five years, but what employees lack in commitment, they must make up for in enthusiasm. This mandatory passion is made worse by the smartphone. No one is every off duty anymore. The BlackBerry’s original tagline was “Always On. Always Connected.” Bizarrely, this made people want to buy it.

Pele was the most complete player I've ever seen, he had everything. Two good feet. Magic in the air. Quick. Powerful. Could beat people with skill. Could outrun people. Only 5ft 8in tall, yet he seemed a giant of an athlete on the pitch. Perfect balance and impossible vision. He was the greatest because he could do anything and everything on a football pitch. I remember Saldhana the coach being asked by a Brazilian journalist who was the best goalkeeper in his squad. He said Pele. The man could play in any position.

Activists who expressed genuine and reasonable concern for the struggles of trans-identified people would simultaneously dismiss women’s desire for safety, privacy, dignity and fair competition. Unlike those activists, I feel compassion both for people who feel at odds with their sexed bodies, and for the people, mainly women and children, who are harmed when sexual dimorphism is denied. At first I was puzzled that well-educated young women were the most ardent supporters of this new policy of gender self-identification, even though it is very much against their interests. A man may be embarrassed if a female person uses a male changing room; a male in a communal female facility can inspire fear. I came to see it as the rising generation’s ‘luxury belief’ – a creed espoused by members of an elite to enhance their status in each other’s eyes, with the harms experienced by the less fortunate. If you have social and financial capital, you can buy your way out of problems – if a facility you use jeopardises your safety or privacy, you will simply switch. It is poorer and older women who are stuck with the consequences of self-ID in women’s prisons, shelters and refuges, hospital wards and care homes. And some women’s apparent support for self-ID is deceptive, expressed for fear of what open opposition would bring. The few male academics and journalists who write critically on this topic tell me that they get only a fraction of the hate directed at their female peers (and are spared the sexualised insults and rape threats). This dynamic is reinforced by ageism, which is inextricably intertwined with misogyny – including internalised misogyny. I was astonished by the young female reviewer who described my book’s tone as ‘harsh’ and ‘unfortunate’. I wondered if she knew that sexists often say they would have listened to women if only they had stated their demands more nicely and politely, and whether she realised that once she is no longer young and beautiful, the same sorts of things will be said about her, too.

If nothing else, my years as a journalist have shown me that humans can be the scariest creatures in existence. That's where I get my inspiration. But, like everything else, where there is bad, there is also good. I write about the bad, but I live for the good.

Dear listeners, this Wednesday we have with us Monseñor Romero. Today he’s going to answer our questions on the topic of the family . . .” the journalist of the day would begin. Then he would take the reins and never let go of them. Questions followed, then the answers. He always got inspired in front of the microphone. He was crazy about radio.

Finally, a word about teachers. My argument should not be construed as an attack on them. Teaching is a difficult job, as I have found in my experience of working with aspiring young journalists. In France as in every country, there are extraordinary teachers who inspire and motivate their students. As elsewhere, there are also some bad teachers, and a big majority that is diligent, conscientious and not properly recognized for their work. My quarrel is not with them. Quite the contrary : as I will discuss, teachers are the solution to France’s biggest educational problems. Teachers, that is, who are well trained and flexible, more autonomous, better paid and more respected. Unfortunately, the French education system has failed to allow teachers to evolve with the times. It leaves them with no margin for manoeuvre, no responsibility and no encouragement. They shoot teachers here, too, don’t they?

At thirty-eight I was a poor, struggling, tired, overworked, unknown journalist. Now, at fifty..." He paused modestly and made a little gesture, moving his fat hands outwards, away from one another, and expanding his fingers as though in demonstration. He was exhibiting himself. Denis thought of that advertisement of Nestle's milk—the two cats on the wall, under the moon, one black and thin, the other white, sleek, and fat. Before Inspiration and after.

With the decline of the United States as the world’s leader, I find it important to look around our globe for intelligent people who have the depth of understanding that could perhaps chart a way to the future. One such person is Bernard-Henri Lévy a French philosopher who was born in Béni Saf, French Algeria on November 5, 1948. . The Boston Globe has said that he is "perhaps the most prominent intellectual in France today." Although his published work and political activism has fueled controversies, he invokes thought provoking insight into today’s controversial world and national views. As a young man and Zionist he was a war correspondent for “Combat” newspaper for the French Underground. Following the war Bernard attended Lycée Louis-le-Grand in Paris and in 1968; he graduated with a degree in philosophy from the famous École Normale Supérieure. This was followed by him traveling to India where he joined the International Brigade to aid Bangladeshi freedom fighters. Returning to Paris, Bernard founded the ‘New Philosophers School.’ At that time he wrote books bringing to light the dark side of French history. Although some of his books were criticized for their journalistic character and unbalanced approach to French history, but most respected French academics took a serious look at his position that Marxism was inherently corrupt. Some of his musings include the predicament of the Kurds and the Shame of Aleppo, referring to the plight of the children in Aleppo during the bloody Syrian civil war. Not everyone agrees with Bernard, as pointed out by an article “Why Does Everyone Hate Bernard-Henri Lévy?” However he is credited with nearly single handedly toppling Muammar Gaddafi. His reward was that in 2008 he was targeted for assassination by a Belgium-based Islamist militant group. Looking like a rock star and ladies man, with his signature dark suits and unbuttoned white shirt, he said that “democracies are not run by the truth,” and notes that the American president is not the author of the anti-intellectual movement it, but rather its product. He added that the anti-intellectualism movement that has swept the United States and Europe in the last 12 months has been a long time coming. The responsibility to support verified information and not publicize fake news as equal has been ignored. He said that the president may be the heart of the anti-intellectual movement, but social media is the mechanism! Not everyone agrees with Bernard; however his views require our attention. If we are to preserve our democracy we have to look at the big picture and let go of some of our partisan thinking. We can still save our democracy, but only if we become patriots instead of partisans!

,,Getting 80 percent of the taxes meant they could also collect 80 percent of the souls when their time came. So you were barely dead and a collector was already at the gate ready to suck the last breath out of you. Everybody hated them, absolutely everyone, no matter the clan they belonged to, or their lineage, or their social status. Nobody said their names and those who joined the League were consigned to oblivion. And yet, there was talk about soldiers who paid to get their freedom and came back from the League. But nobody knew how they had done that and the Journalists who had investigated the topic came back disappointed and quit the profession altogether. There was also much talk about some form of resistance, which seemingly had achieved more, about some sort of liberation movement, but nothing of what was going on in the lake area could be connected to the rumours.

There's extreme violence, but there's a will to find who these people really are. And I think that's what's really inspiring about it.