Actor Motivational Quotes

Plants are more courageous than almost all human beings: an orange tree would rather die than produce lemons, whereas instead of dying the average person would rather be someone they are not.

If you're waiting until you feel talented enough to make it, you'll never make it.

Mostly what you lose with time, in memory, is the specificity of things, their exact sequence. It all runs together, becomes a watery soup. Portmanteau days, imploded years. Like a bad actor, memory always goes for effect, abjuring motivation, consistency, good sense.

People never forget two things, their first love and the money they wasted watching a bad movie.

Audience can live without a movie but a movie cannot live without an audience.

Your dreams are free but the hustle is sold separately.

Singers, actors or artists who touch on sorrow are trying to give comfort to aggrieved souls by giving some meaning to their sorrows.

Life made me an actor from birth. The world, darling, is not my stage but my audience.

An actor is just a part of a movie, but director - he is the movie.

Some of the fantasy objects arising from cybernetic totalism (like the noosphere, which is a supposed global brain formed by the sum of all the human brains connected through the internet) happen to motivate infelicitous technological designs. For instance, designs that celebrate the noosphere tend to energize the inner troll, or bad actor, within humans.

My desire to keep him there had, at some point, transcended the alignment of an actor's motivation and his character's. I desperately wanted him to stay, seized by the nonsensical idea that if he left, I would lose him, irretrievably.

Be Your Best Without the Stress!Be the director and actor in your movie, called My Life.

Creativity without discipline will struggle, creativity with discipline will succeed.

He turned to go, and I darted around to bar his path again. My desire to keep him there had, at some point, transcended the alignment of an actor’s motivation and his character’s. I desperately wanted him to stay, seized by the nonsensical idea that if he left, I would lose him, irretrievably. “Tell me in sadness, who is that you love,” I said, searching the parts of his face I could see for a flicker of reciprocal feeling.

The actor, writer, and director Woody Allen once said, “80% of success is just showing up!” You Can Show Up By . . . • Participating. • Sharing ideas. • Being dependable. • Keeping your word. • Taking the initiative. • Volunteering to be of assistance. • Being there when a friend needs you. • Raising your hand and asking questions. • Attending your children’s sporting events. • Taking your place and claiming your space. • Demonstrating that you have something to offer.

When singers, actors or artists touch on sorrow, they are trying to give comfort to aggrieved souls by giving some meaning to their sorrows. The job of the singer, actor or artists ,in general, is to make us comfortable with our feelings or emotions―be it pain, hurt, anger, hatred, sadness, pleasure, love, cheerfulness or joy.

If you are not curious about the world around you I suggest you get curious. Without curiosity, you are the living dead.

As such, I have found that American politics is best understood by braiding two forms of knowledge that are often left separate: the direct, on-the-ground insights shared by politicians, activists, government officials, and other subjects of my reporting, and the more systemic analyses conducted by political scientists, sociologists, historians, and others with the time, methods and expertise to study American politics at scale. On their own, political actors often ignore the incentives shaping their decisions and academic researchers miss the human motivations that drive political decision-making. Together, however, they shine bright light on how and why American politics work the way it does.

Thus we see everyone—young and old, women, laborers, professionals, politicians, and actors—seeking the “truth” about their future. This sort of crowd will always find another crowd: sorcerers, soothsayers, astrologers, card readers, prana therapists, and fortune-tellers of all kinds. Those who turn to them are motivated by chance, or hope, or desperation, or as an experiment.

If we limit our sight to individual players, we'll never see the big picture. The issue is a systemic one, maintained by interconnected actors, all acting in their self-interest to further their goals. The trouble is not, or not always, the actors themselves, or their intrinsic motivations. Instead, it's the overarching goal of the entire system that's at fault: corporate profit above public health.

Western people (and people in many other cultures) tend to believe that only evil actors do violence, and that good people do not hurt others on purpose. This line of thinking has colored Western scientific theories of violence. We have shown that there are moral and non-moral motives for abstaining from violence, and there are many moral and sometimes also non-moral motives for engaging in violence.

Thomas Hobbes said that man is a wolve for anothe one. It seems to me that this became the basic foundation ideology for the Marxians. Though, it seems also inspired in Max Weber's ides, but actually, Weber reject it. According Stjerno, who quote Weber's idea about man (2005, p. 37), that for Weber, action is social when the individual gives it a subjective meaning that takes account of the behaviour of other and lets his ouw course of action, (Weber; 1978 (1922). Social relationship,said Weber, developed when many actors took into account of the hehaviour of the actions of others. A relationship is symmetrical when each actor gives it the same meaning. However, complet symmetry, Weber maintained, Stjerno added, was rare. Generally, the parts of a social relationship orient their actions on a rational basis,zweckrational - goal-oriented, but in part; they are also motivated by their values and sense of duty,(Stjerno, Steinar: 2005)

NATO itself funds think tanks because its messaging helps keep the alliance alive, by convincing the media, and policymakers, that it still has some sort of purpose. The U.S. State Department’s main motivation appears to be to provide “jobs for the boys,” given that so many former U.S. diplomats and government figures end up in the think tank racket after leaving the political fray. Meanwhile, other actors from oil-rich gulf dictatorships to Ukrainian oligarchs throw in money to obtain access to powerful people in Washington and other western capitals. Basically, the whole thing is a massive money racket, chasing ghosts to keep the cash spigot open.

The beauty of theatre was that it was a moving, changing art form—only those who watch the same performance night in after night out see the real naturalistic drama at work—the small changes, adjustments, changes in articulation or intonation, the addition of a cough or hiccup, a longer pause rife with more (or less) meaning, the character’s movement across the stage a step slower, a step closer to the audience, the change of a word here and there, an overall change in mood and tone, the actors becoming (or not) the characters more fully, blending in with them, losing themselves in the lines, in the characterizations, in a drama that is simultaneously unfolding and becoming more and more verisimilitudinous as time marches on. This is the real narrative—while the character changes on stage in an instant, the play changes slowly, unnoticeably (unnoticeable to those closest to it perhaps), like the face of a man in his thirties, like his beliefs about life, his motives, all slowly as if duplicating itself day by day, filling itself and becoming more and more itself, the rehearsal of Self, the dress rehearsal of Self, the performance of Self, the extended performance of Self, the encore…—it appears to be the same show, played over and over again with the same details to different crowds, and yet something happens. Something changes. It is not the same show.

Complex operations, in which agencies assume complementary roles and operate in close proximity-often with similar missions but conflicting mandates-accentuate these tensions. The tensions are evident in the processes of analyzing complex environments, planning for complex interventions, and implementing complex operations. Many reports and analyses forecast that these complex operations are precisely those that will demand our attention most in the indefinite future. As essayist Barton and O'Connell note, our intelligence and understanding of the root cause of conflict, multiplicity of motivations and grievances, and disposition of actors is often inadequate. Moreover, the problems that complex operations are intended and implemented to address are convoluted, and often inscrutable. They exhibit many if not all the characteristics of "wicked problems," as enumerated by Rittel and Webber in 1973: they defy definitive formulations; any proposed solution or intervention causes the problem to mutate, so there is no second chance at a solution; every situation is unique; each wicked problem can be considered a symptom of another problem. As a result, policy objectives are often compound and ambiguous. The requirements of stability, for example, in Afghanistan today, may conflict with the requirements for democratic governance. Efforts to establish an equitable social contract may well exacerbate inter-communal tensions that can lead to violence. The rule of law, as we understand it, may displace indigenous conflict management and stabilization systems. The law of unintended consequences may indeed be the only law of the land. The complexity of the challenges we face in the current global environment would suggest the obvious benefit of joint analysis - bringing to bear on any given problem the analytic tools of military, diplomatic and development analysts. Instead, efforts to analyze jointly are most often an afterthought, initiated long after a problem has escalated to a level of urgency that negates much of the utility of deliberate planning.

My Definite Chief Aim I, Bruce Lee, will be the first highest paid Oriental super star in the United States. In return, I will give the most exciting performances and render the best of quality in the capacity of an actor. Starting 1970 I will achieve world fame and from then onward till the end of 1980 I will have in my possession $10,000,000. I will live the way I please and achieve inner harmony and happiness. My aim is to establish a first Gung Fu Institute that will later spread all over the U.S. (I have set a time limit of 10 to 15 years to complete the whole project). My reason in doing this is not the sole objective of making money. The motives are many and among them are: I like to let the world know about the greatness of this Chinese art; I enjoy teaching and helping people; I like to have a well-to-do home for my family; I like to originate something; and the last but yet one of the most important is because gung fu is part of myself. … Right now, I can project my thoughts into the future. I can see ahead of me. I dream (remember that practical dreamers never quit). I may now own nothing but a little place down in a basement, but once my imagination has got up a full head of steam, I can see painted on a canvas of my mind a picture of a fine, big five or six story Gung Fu Institute with branches all over the States. I am not easily discouraged, readily visualize myself as overcoming obstacles, winning out over setbacks, achieving “impossible” objectives.

Poor Superman is about a married man who, much to his own surprise, enters into a passionate love affair—with another man. The experimental theatre which hosted the play here is a small place, and we happened to wind up sitting in the front row. Practically on the stage. The actors were often within a few feet of us. So, during the big love scene, when the two male leads start passionately stroking and kissing each other’s stark naked bodies... and doing this so close to me that I could have touched them both with only a little effort... I sat there in mute panic, thinking, “Please don’t either of you fellows get an erection. Just don’t. Should I look away? Should I close my eyes? Should I just keep watching as if I’m not obsessing about your genitals? Aren’t you done kissing and touching yet? Because if this goes on any longer, one of you could have an involuntary reaction, if you get my drift! And I am a total stranger sitting within four damn feet of you, in case you hadn’t NOTICED!” Though my seat wasn’t as dark as usual, the writing lesson was very memorable: Don’t ever pull your reader out of the frame. Bad research. Anachronistic writing. Self-serving polemics and lectures barely disguised as narrative. Incongruity and lack of continuity. Weak characterization, leaden pacing, lack of motivation, stiff dialogue, lazy plotting... There are a thousand ways for novelist to wind up naked onstage while an appalled audience obsesses about her exposed genitals at a critical moment.

The main signpost that helps political realism to find its way through the landscape of international politics is the concept of interest defined in terms of power. This concept provides the link between reason trying to understand international politics and the facts to be understood. It sets politics as an autonomous sphere of action and understanding apart from other spheres, such as economics (understood in terms of interest defined as wealth), ethics, aesthetics, or religion. Without such a concept a theory of politics, international or domestic, would be altogether impossible, for without it we could not distinguish between political and nonpolitical facts, nor could we bring at least a measure of systematic order to the political sphere. We assume that statesmen think and act in terms of interest defined as power, and the evidence of history bears that assumption out. That assumption allows us to retrace and anticipate, as it were, the steps a statesman - past, present, or future - has taken or will take on the political scene. We look over his shoulder when he writes his dispatches; we listen in on his conversation with other statesmen; we read and anticipate his very thoughts. Thinking in terms of interest defined as power, we think as he does, and as disinterested observers we understand his thoughts and actions perhaps better than he, the actor on the political scene, does himself. The concept of interest defined as power imposes intellectual discipline upon the observer, infuses rational order into the subject matter of politics, and thus makes the theoretical understanding of politics possible. On the side of the actor, it provides for rational discipline in action and creates that astounding continuity in foreign policy which makes American, British, or Russian foreign policy appear as an intelligible, rational continuum, by and large consistent within itself, regardless of the different motives, preferences, and intellectual and moral qualities of successive statesmen.

The best advice came from the legendary actor the late Sir John Mills, who I sat next to backstage at a lecture we were doing together. He told me he considered the key to public speaking to be this: “Be sincere, be brief, be seated.” Inspired words. And it changed the way I spoke publicly from then on. Keep it short. Keep it from the heart. Men tend to think that they have to be funny, witty, or incisive onstage. You don’t. You just have to be honest. If you can be intimate and give the inside story--emotions, doubts, struggles, fears, the lot--then people will respond. I went on to give thanks all around the world to some of the biggest corporations in business--and I always tried to live by that. Make it personal, and people will stand beside you. As I started to do bigger and bigger events for companies, I wrongly assumed that I should, in turn, start to look much smarter and speak more “corporately.” I was dead wrong--and I learned that fast. When we pretend, people get bored. But stay yourself, talk intimately, and keep the message simple, and it doesn’t matter what the hell you wear. It does, though, take courage, in front of five thousand people, to open yourself up and say you really struggle with self-doubt. Especially when you are meant to be there as a motivational speaker. But if you keep it real, then you give people something real to take away. “If he can, then so can I” is always going to be a powerful message. For kids, for businessmen--and for aspiring adventurers. I really am pretty average. I promise you. Ask Shara…ask Hugo. I am ordinary, but I am determined. I did, though--as the corporation started to pay me more--begin to doubt whether I was really worth the money. It all seemed kind of weird to me. I mean, was my talk a hundred times better now than the one I gave in the Drakensberg Mountains? No. But on the other hand, if you can help people feel stronger and more capable because of what you tell them, then it becomes worthwhile for companies in ways that are impossible to quantify. If that wasn’t true, then I wouldn’t get asked to speak so often, still to this day. And the story of Everest--a mountain, like life, and like business--is always going to work as a metaphor. You have got to work together, work hard, and go the extra mile. Look after each other, be ambitious, and take calculated, well-timed risks. Give your heart to the goal, and it will repay you. Now, are we talking business or climbing? That’s what I mean.

The universal survey of life as a whole, an advantage which man has over the animal through his faculty of reason, is also comparable to a geometrical, colourless, abstract, reduced plan of his way of life. He is therefore related to the animal as the navigator, who by means of chart, compass, and quadrant knows accurately at any moment his course and position on the sea, is related to the uneducated crew who see only the waves and skies. It is therefore worth noting, and indeed wonderful to see, how man, besides his life in the concrete, always lives a second life in the abstract. In the former he is abandoned to all the storms of reality and to the influence of the present; he must struggle, suffer, and die like the animal. But his life in the abstract, as it stands before his rational consciousness, is the calm reflection of his life in the concrete, and of the world in which he lives; it is precisely that reduced chart or plan previously mentioned. Here in the sphere of calm deliberation, what previously possessed him completely and moved him intensely appears to him cold, colourless, and, for the moment, foreign and strange; he is a mere spectator and observer. In respect of this withdrawal into reflection, he is like an actor who has played his part in one scene, and takes his place in the audience until he must appear again. In the audience he quietly looks on at whatever may happen, even though it be the preparation of his own death (in the play); but then he again goes on the stage, and acts and suffers as he must. From this double life proceeds that composure in man, so very different from the thoughtlessness of the animal. According to previous reflection, to a mind made up, or to a recognized necessity, a man with such composure suffers or carries out in cold blood what is of the greatest, and often most terrible, importance to him, such as suicide, execution, duels, hazardous enterprises of every kind fraught with danger to life, and generally things against which his whole animal nature rebels. We then see to what extent reason is master of the animal nature, and we exclaim to the strong: ferreum certe tibi cor! (Truly hast thou a heart of iron!) [Iliad, xxiv, 521.] Here it can really be said that the faculty of reason manifests itself practically, and thus practical reason shows itself, wherever action is guided by reason, where motives are abstract concepts, wherever the determining factors are not individual representations of perception, or the impression of the moment which guides the animal.

As A and B interact, in whatever manner, typifications will be produced quite quickly. A watches B perform. He attributes motives to B’s actions and, seeing the actions recur, typifies the motives as recurrent. As B goes on performing, A is soon able to say to himself, “Aha, there he goes again.” At the same time, A may assume that B is doing the same thing with regard to him. From the beginning, both A and B assume this reciprocity of typificatíon. In the course of their interaction these typifications will be expressed in specific patterns of conduct. That is, A and B will begin to play roles vis-à-vis each other. This will occur even if each continues to perform actions different from those of the other. The possibility of taking the role of the other will appear with regard to the same actions performed by both. That is, A will inwardly appropriate B’s reiterated roles and make them the models for his own role-playing. For example, B’s role in the activity of preparing food is not only typified as such by A, but enters as a constitutive element into A’s own food-preparation role. Thus a collection of reciprocally typified actions will emerge, habitualized for each in roles, some of which will be performed separately and some in common.22 While this reciprocal typification is not yet institutionalization (since, there only being two individuals, there is no possibility of a typology of actors), it is clear that institutionalization is already present in nucleo. At

Great Sardaar" An ornamental piece of work by the Punjabi industry. Produced by Amritjit Singh Sran and Directed by Ranjeet Bal under the production house Apna Heritage &Sapphire Films presents to you "Great Sardaar" an Action/Drama film starring none other than the budding artist Dilpreet Dhillon and the multi talented Yograj Singh. This movie is an Action/Drama film in which the protagonist ends up with a series of challenges. The movie stars Dilpreet Dhillon as the lead along with Yograj singh who plays the role of (Dilpreet Dhillon) Gurjant's father. After watching the trailer one can surely say there's tasty substance beneath the froth, just enough to keep you hooked. "GREAT SRADAAR" is based on the true events about Major Shaitan Singh, who was awarded the Param Vir Chakra posthumously for his 'C' company's dig-in at Rezang La pass during the Sino-India conflict of 1962. This motivational movie is a Tribute to Sikkhism. It's really healing to see movies that are based on true events. It builds so much more compassion. Dilpreet Dhillon popularly known for his role in "once upon a time in Amritsar" has gained a great fan following. He is considered is one of the popular emerging male playback singer and actor in Punjabi music industry. And when it comes to Yograj Singh, he is not only a former Indian cricketer but also a boon to the Punjabi industry. Since the release of the official trailer on 7th of June,2017 which shows that the movie is action-packed and will leave the audience spellbound and wanting for more, the audience is eagerly waiting for the release of the movie.The trailer rolls by effortlessly and the Director has done an impeccable job. Ranjeet Bal evidently knew what he was doing and has ensured that every minute detail was taken care of particularly considering the genre he was treading. The audience will surely be sitting on the edge of their seats. Visual Effects Director- VFx Star has once again proved that there is nothing that will leave India from evolving in the field of technology. "Great Sardaar" which is set to be released on the 30th of June,2017 will be a very carefully structured story. The main question that will be raised is not what kind of world we live in, or what reality is like, rather what it has done to us.

an action is good when it promotes interests, material or spiritual, as intended by the actor in his motive; and it is bad when it injures interests, material or spiritual, as intended by the actor in his motive.' According

Talent & Skills are useless & won’t get you anywhere, without lot of practice, commitment & prioritization

Iris Whitney, a former showgirl that frequented Malachy’s bar on Third Avenue, became my friend with a story. The same year that I had graduated from High School, she had been frolicking with John Garfield in her two room Gramercy Park apartment. On May 21, 1952 Garfield was found dead of a heart attack, in her bed. When I first met Iris I didn’t know anything about this but even if I had, all I can say is that I enjoyed her company and survived the experience. Of course she denied having been intimate with the actor the night that he died and added that John had not been feeling well. When the police arrived and had to break the door down, her explanation was that she thought that they were newspaper men. Several years later, in Connecticut, I had the occasion to talk about old times and some of these events, to the popular stage and screen actor Byron Barr better known as “Gig Young.” Sitting with my wife Ursula and Young at the open bar alongside the Candlewood Theatre, in New Fairfield during the summer of 1978, everything seemed normal. Coincidentally I also knew his former wife Elizabeth Montgomery who was married to him from 1956 to 1963, since she was my neighbor living on the nearby Cushman road in Patterson New York,. On October 19, 1978, two months after seeing Young, I read that he had shot his wife Kim Schmidt and committed suicide only three weeks after their marriage. Apparently Young had shot his wife and then turned the gun on himself. They were both found dead in their Manhattan apartment but the police never established a motive for the murder-suicide. I knew that he liked to drink and this may have been a part of the problem, but he always seemed congenial and there was no hint that it would ever come to this.

What is not taken into account is the motivation of activity. Take for instance a man driven to incessant work by a sense of deep insecurity and loneliness; or another one driven by ambition, or greed for money. In all these cases the person is the slave of a passion, and his activity is in reality a 'passivity' because he is driven; he is the sufferer, not the 'actor.' On the other hand, a man sitting quiet and contemplating, with no purpose or aim except that of experiencing himself and his oneness with the world, is considered to be 'passive,' because he is not 'doing' anything. In reality, this attitude of concentrated meditation is the highest activity there is, an activity of the soul, which is possible only under the condition of inner freedom and independence.

FIDELITY AND BETRAYAL He loved her from the time he was a child until the time he accompanied her to the cemetery; he loved her in his memories as well. That is what made him feel that fidelity deserved pride of place among the virtues: fidelity gave a unity to lives that would otherwise splinter into thousands of split-second impressions. Franz often spoke about his mother to Sabina, perhaps even with a certain unconscious ulterior motive: he assumed that Sabina would be charmed by his ability to be faithful, that it would win her over. What he did not know was that Sabina was charmed more by betrayal than by fidelity. The word fidelity reminded her of her father, a small-town puritan, who spent his Sundays painting away at canvases of woodland sunsets and roses in vases. Thanks to him, she started drawing as a child. When she was fourteen, she fell in love with a boy her age. Her father was so frightened that he would not let her out of the house by herself for a year. One day, he showed her some Picasso reproductions and made fun of them. If she couldn't love her fourteen-year-old schoolboy, she could at least love cubism. After completing school, she went off to Prague with the euphoric feeling that now at last she could betray her home. Betrayal. From tender youth, we are told by father and teacher that betrayal is the most heinous offense imaginable. But what is betrayal? Betrayal means breaking ranks. Betrayal means breaking ranks and going off into the unknown. Sabina knew of nothing more magnificent than going off into the unknown. Though a student at the Academy of Fine Arts, she was not allowed to paint like Picasso. It was the period when so-called socialist realism was prescribed and the school manufactured Portraits of Communist statesmen. Her longing to betray her father remained unsatisfied: Communism was merely another father, a father equally strict and limited, a father who forbade her love (the times were puritanical) and Picasso, too. And if she married a second-rate actor, it was only because he had a reputation for being eccentric and was unacceptable to both fathers. Then her mother died. The day following her return to Prague from the funeral, she received a telegram saying that her father had taken his life out of grief. Suddenly she felt pangs of conscience: Was it really so terrible that her father had painted vases filled with roses and hated Picasso? Was it really so reprehensible that he was afraid of his fourteen-year-old daughter's coming home pregnant? Was it really so laughable that he could not go on living without his wife? And again she felt a longing to betray: betray her own betrayal. She announced to her husband (whom she now considered a difficult drunk rather than an eccentric) that she was leaving him. But if we betray B., for whom we betrayed A., it does not necessarily follow that we have placated A. The life of a divorcee-painter did not in the least resemble the life of the parents she had betrayed. The first betrayal is irreparable. It calls forth a chain reaction of further betrayals, each of which takes us farther and farther away from the point of our original betrayal.

We came to earth to fulfill certain roles or characters, so that future actors and actresses can gain knowledge and insight from the experiences of those who came before them.

Cooperative behavior may confer benefits net of costs on the individual cooperator, and thus could be motivated entirely by self-interest. Market exchange is an example. In this case, cooperation is a form of mutualism, namely an activity that confers net benefits both on the actor and on others. But cooperation may also impose net costs upon individuals in the sense that not cooperating would increase their fitness or other material payoffs. In this case cooperative behavior constitutes a form of altruism (see

I’ve never liked the term ‘actor’.” Barron spoke slowly, joining hands with the cast members to his left and right. The rest of them formed a circle, also holding hands, and he continued. “Seriously now, is anyone here ‘acting’? Is anyone here pretending? “Me, I’m a theater director. One hundred percent, all the time. I’m not pretending, or acting, or trying to fool anyone. This is what I do, and I give it my all—just like you. I look around me, and I don’t see a single phony. I see people who give their hearts, their minds, and their very lives to being serious performers on the stage. In the last weeks I’ve watched every one of you give up the easy life to come here and bust a gut to make this show a reality. “That’s why I call you performers. Not actors—performers. Because when it’s time to prepare, you work out every nuance of a role. When it’s time to step in front of the crowd, you reach out and pull them in with both hands. When it’s time to say your lines, you deliver them with skill and meaning. That’s performance. And there’s nothing phony about that. There’s nothing pretend about that. There’s no acting that will take the place of that. “And so that’s my wish for you tonight: Have a great performance. You’ve done the work, you’re ready, and now it’s time to show off. Have fun out there, gang. Perform.

They had a much more fundamental problem with the market: greed. Market motives were held to be inherently corrupt. The moment that greed was validated and unlimited profit was considered a perfectly viable end in itself, this political, magical element became a genuine problem, because it meant that even those actors—the brokers, stock-jobbers, traders—who effectively made the system run had no convincing loyalty to anything, even to the system itself.

Dar frumusetea, adevarata frumusete, sfarseste acolo unde apare expresivitatea intelectuala. In sine, intelectul este o maniera de exagerare si distruge armonia oricarui chip. In momentul in care te asezi sa gandesti, devii doar nas sau frunte sau ceva respingator. Uita-te la oamenii de succes din oricare dintre profesiunile intelectuale. Sunt perfect hidosi ! ‘’ 2.‘’Atunci cand imi plac enorm unii oameni, nu le spun numele altora. E ca si cum as renunta la o parte din ei. De la o vreme cultiv discretia. Se pare ca este acel lucru care face viata moderna misterioasa sau incredibil de minunata. Cel mai banal lucru devine incantator daca il ascunzi. Cand plec din oras nu spun nimanui unde ma duc. Daca as face-o, as pierde intreaga placere. E un obicei prostesc, as zice, dar se pare ca aduce o mare doza de aventura in propria-ti existenta. Imi inchipui ca ma crezi teribil de necugetat.’’ 3.‘’Constiinta si lasitatea sunt unul si acelasi lucru, Basil draga. Constiinta e doar numele comercial. Asta-i tot.’’ 4.‘’- Poetii nu sunt atat de scrupulosi ca tine. Ei stiu bine cat de utila este pasiunea pentru a putea publica o carte. In zilele noastre o inima distrusa se lasa tiparita in mai multe editii. -Ii urasc pentru asta, striga Hallward. Artistul trebuie sa creeze lucruri frumoase, dar nu trebuie sa puna nimic din viata lui in acestea. Traim intr-o epoca in care oamenii trateaza arta de parca ar fi o forma de autobiografie. Am pierdut sensul abstract al frumosului. ‘’ 5.’’Simt o placere cu totul ciudata in a-i spune lucruri de care stiu ca-mi va parea rau ca i le-am spus. De regula el se poarta fermecator; stam in atelier si vorbim despre o multime de lucruri. Totusi, din cand in cand e groaznic de necugetat si pare ca-i produce o mare placere sa ma faca sa sufar. In acele momente simt ca mi-am dat in intregime sufletul cuiva care il trateaza de parca ar fi o floare de pus la butoniera, asa, ceva decorativ care sa-i incante vanitatea, un ornament pentru o zi de vara.’’ 6.’’ Pentru ca a influenta pe cineva inseamna sa-i dai propriul suflet. Cel influentat nu mai gandeste cu propriile ganduri si nu mai arde cu propriile-i pasiuni. Pentru el virtutile nu mai sunt reale. Pacatele, daca exista intr-adevar pacate, sunt imprumutate. El devine ecoul muzicii altcuiva, un actor care joaca un rol ce nu a fost scris pentru el. Scopul vietii e dezvoltarea sinelui. Atingerea propriei naturi intr-un mod perfect-iata pentru ce suntem aici, pe pamant, fiecare dintre noi. Azi, oamenii se tem de ei insisi. Au uitat suprema datorie, datoria fata de sine.’’ 7. ‘’Pentru a-ti recastiga tineretea trebuie doar sa-ti repeti nebuniile. (…..)Azi cei mai multi oameni mor dintr-un soi de bun-simt infiorator si descopera atunci cand e prea tarziu ca singurele lucruri pe care nu le regreta sunt greselile comise. (…) Se juca cu idea si o continua cu obstinatie; o zvarlea in aer si o transforma, o lasa sa-i scape si o prindea din nou, o facea sa iradieze de fantezie si ii dadea apoi aripi de paradox.’’ 8. ‘’Femeile banale nu-ti starnesc imaginatia. Sunt limitate la secolul in care traiesc. Ghicesti ce gandesc la fel de usor cum le cunosti palariile. Le poti descoperi usor. Nu au nici un pic de mister. Au zambete stereotipe si maniere la moda. Sunt destul de transparente.’’ 9. ‘’Tocmai pasiunile asupra carora ne inselam ne tiranizeaza cu mai multa forta. Cele mai debile motive sunt cele de a caror natura suntem constienti. De cele mai multe ori se intampla ca, atunci cand credem ca facem experiente pe altii, sa facem de fapt experiente pe noi.’’ 10.’’Sufletul e o realitate teribila. Poate fi vandut si cumparat si pus la vanzare. Poate fi otravit sau adus la perfectiune. Toti avem un suflet. Stiu.

doormats. It was true that actors had a perception, an understanding of human motive, that normal people lacked. It had nothing to do with intelligence, and very little to do with education.

As artists, we are constantly becoming.

Being-‘subject’ means taking up a position from which an actor can make the transition from theory to practice. This transition usually takes place once an actor has found the motive that liberates them from hesitation and disinhibits them for action.

I’ve come face-to-face with these two questions countless times as a writer, an entrepreneur, a painter, a musician, and even a lawyer. On a more immediate level, the questions relate to the project you’re working on. If you’re a painter creating a collection of work, you may start to feel the questions arise as you explore whether a canvas or the collection is taking shape as you have envisioned it. On a more expansive level, the question emerges in the context of whether you should even be a painter or a writer, a coder, an entrepreneur, a CEO. I’ve seen actors struggle to build careers for decades, never coming close to earning enough to cover their bills. Yet they keep on keeping on, because their big break could be one audition away. And this is what they feel called to do. These are some of the most difficult and defining moments every creator faces. I’ve been told by legendary entrepreneurs, “If you have to ask, assume it’s resistance and soldier on.” They claim that you just know whether or not a project is meant to be. But I’ve witnessed countless people commit to perpetually unsuccessful projects or careers or, on the other side of the spectrum, come a breath away from what would’ve been breakthrough success had they just held on a bit longer. So I began to explore a more systematic process, a set of benchmarks, tests, and questions that might better guide these moments and help people decide whether to keep leaning into the journey, alter their course, or walk away and do something entirely different. We start by asking, “What was your inciting motivation?” What made you undertake this endeavor to begin with. Was it, in some form, the expression of a calling? Was it something to keep you busy? Was it about serving a group of people, solving a problem, or serving up a delight? Was it about money or doing anything you could to get your parents off your back and avoid grad school? Begin by going back to the time surrounding your decision to create whatever it is you’re creating and answer this question. Then move on to the next question. In light of the information and experiences you’ve had along the journey to date, does that original motive still hold true? Are you still equally or even more determined to make it happen? And given what you now know, do you believe you can make it happen?

Eloquent speakers, communication experts, seasoned actors, and musicians all understand the transforming power of the pause. They know all too well that strategic silence and a well-placed whisper can speak louder than words in delivering a memorable presentation. It captures people's attention . . . creating eager anticipation for your next words.

Myths are not read as statements of particular actors, but as outgrowths of nature.  They are seen as providing a natural reason, rather than an explanation or a motivated statement. They

people] can see only the human actors upon the stage of history. Wicked rulers, ruthless dictators, tyrants, oppressors, kings, governments, and presidents are, to them, the real and only characters in the great drama of life as it affects the political realm. They have no idea at all of the unseen realm of evil personalities, energizing and motivating their human agents…

Un truco mental para superar los malos momentos Una buena forma de absorber energía de cualquier obstáculo es reírte aunque no sea el momento. ¡Reírte sin razón! Se un actor, actúa como si ya tuvieras la alegría que buscas. No esperes a que algo te motive o la espera será muy larga.   ¡Actúa como si estuvieras contento y estarás contento!   La

Un truco mental para superar los malos momentos Una buena forma de absorber energía de cualquier obstáculo es reírte aunque no sea el momento. ¡Reírte sin razón! Se un actor, actúa como si ya tuvieras la alegría que buscas. No esperes a que algo te motive o la espera será muy larga.

Un truco mental para superar los malos momentos Una buena forma de absorber energía de cualquier obstáculo es reírte aunque no sea el momento. ¡Reírte sin razón! Se un actor, actúa como si ya tuvieras la alegría que buscas. No esperes a que algo te motive o la espera será muy larga.   ¡Actúa como si estuvieras contento y estarás contento!   La mayoría cree que la emoción va primero, creen que primero tienen que conseguir algo para alegrarse.

in order to attract private actors to carry through their innovation projects and policies, various components of the NSS have to create, and periodically update, a whole system of incentives and organizational arrangements—ranging from the funding and design of technology development to intellectual property and procurement reforms. Over time, this motivating process draws the NSS further and further into promoting commercial technology from which both sectors can draw benefit. But throughout this process of give and take, the NSS continues to set the goals, make the rules (for example, by setting performance standards), and define the problem sets for industry and university researchers to tackle. The outcome is what I characterize as a system of governed interdependence—neither “statist” nor “free-market” in its approach to inducing transformative innovation.

When evening comes, I return home (from the local tavern) and go into my study. On threshold I strip off my muddy, sweaty, workaday clothes, and put on the robes of court and palace, and in this graver dress I enter the courts of ancients and am welcomed by them, and there I taste the food that alone is mine, and for which I was born. And there I make bold to speak to them and ask the motives of their actors, and they, in their humanity, reply to me. And for the space of four hours I forget the world, remember no vexation, fear poverty no more, tremble no more of death; I pass indeed into their world.

It's time to stop being spectators. Do things. Join things. Make things happen. Make a contribution. Make a difference. Get out there. Don't keep calm and carry on. Get angry, and change this benighted world. Is there anything else than the masses who wait for others to do things?

In short, from natural selection’s point of view, it’s good for you to tell a coherent story about yourself, to depict yourself as a rational, self-aware actor. So whenever your actual motivations aren’t accessible to the part of your brain that communicates with the world, it would make sense for that part of your brain to generate stories about your motivation.

Destiny has called you to be a god. Are you hero enough for the task? Will you switch on your inner “hero program”, or slink off to the shopping mall or the sports stadium and put it off for yet another day? Maybe you’ll take in a movie. So much easier to watch others doing the heavy lifting, and the actors are just faking it anyway. Where are the real heroes? Where are YOU?!

The indirect harvesting of valued-per-click leisure time by corporations has led many technocapitalists to support projects like the Universal Basic Income (UBI), which would free up users’ time which could then potential y be spent generating valuable data and content on their own platforms. The driving force of this trend is the Pay Per Click (PPC) advertising campaigns that have grown simultaneously with corporations like Google over the last 15 years, but now the value of the click is not based only on the likelihood of purchasing success, as older models of Google AdWords and other targeted ad campaigns functioned. Instead, the click is conceptualised as a data-point that connects two or more actors in the network. It is those moments of connection between subjects and objects that have potential value to data-driven companies from corporate advertisers to election meddlers like Cambridge Analytica and policy influencers like Palantir. This only works because the user can be libidinally motivated to conduct the ‘free labour’ constituted by the click. The situation was prophetically predicted by one of the most historically influential Marxists still alive, Mario Tronti. His 1966 book Workers and Capital gave rise to the concept of ‘neocapitalism’, which anticipates the environment in which the digital worker operates today. For Tronti: At the highest level of capitalist development, the social relation is transformed into a moment of the relation of production. In this environment, the data-point connecting two people, generated at the moment of every click between social media pages, connects the social relation itself to a relation of production in real time. Seeing this in his own future, Tronti worried that society itself would run by the logic of the factory. Each interaction between individuals would incorporate a surplus value turned to profit by the class owning the means. dream lovers of social production. If the factory workers could be made to relate to each other in a way that was productive for the factory owners, so too could the entirety of social life be modified and edited for the profit of the capitalists. The whole of society is turned into an articulation of production, that is, the whole of society lives as a function of the factory and the factory extends its exclusive domination to the whole of society.

First you have to take your skills and talent somewhere , In order for your skills and talent to take you everywhere.

To Thine Own Self Be True Just keep moving forward and don’t give a shit about what anybody thinks. Do what you have to do, for you. —Johnny Depp actor

Victor’s attitude It was a narrow passage, But it led people into a new age, Where everything was wide and filled with grandeur, Kissed by the hope, enabling them to strive and endure, As life stretched its checkerboard of new moves, And chance and fate filled its groves, Those who had reached there via this narrow passage, Received for his/her effort a due wage, Because it led them all into the world of deeds, Where only actions matter, nothing else, no castes and no creeds, As they reached there hope greeted them all, And she whispered to them, “no matter what happens rise every time you fall, Because everything may be working against you, Do not forget I am always on your side, because I was born just for you!” Then all get pitched against life and its main actor “the chance,” And based on its wishes all play the game of life and to its tunes they begin to dance, Many lose after few blows, a few after many blows, but some rise after every fall, And it is then life makes them experience the might of fate, and thus ensues the grand brawl, Where life, chance and fate form the formidable side, While men and women on the other end reside, And life offers them blows of chance and fate, Most of them are sent sooner than expected behind the graveyard's always open gate, But few rise from their graves too because they never lose hope, They remember her whispers and it becomes their renewed courage’s most befitting trope, And as life begins to feel weary, because it runs short of its reserves of chances, And fate too appears to have exhausted all its probabilities and likelihoods of adding new steps to life’s dances, The victor is born, who never rests until he/she is dead, Because a true victor is not by life, but by his/her attitude fed!

If there was one thing Snake knew about people, it was that once they got attached to a theory, it was hard to get them detached. They’d screen out unhelpful facts, invent favorable ones, and ignore contradictions in their own claims. Look at those Sandy Hook truthers, babbling about false flags and crisis actors and all the rest. When people were motivated enough to believe something, they were going to believe it no matter what. There was no such thing as a bridge too far.

What threat actors are interested in my organization's industry? What threat actors are known for targeting my area of operation? What threat actors could target my organization in order to reach another company I supply a service for? Has my organization been targeted previously? If so, what type of threat actor did it? What were its motivations? What asset does my organization need to protect? What type of exploits should my organization be looking out for?

It is said that Edward had very enlightened, advanced, and comprehensive ideas of statesmanship; that he wished to fuse England, Scotland, and Wales into one grand monarchy, with anticipation of a great future for the whole. The extreme exasperation he felt, and the savage cruelty he showed to the patriotic Scots who opposed him, were quite a natural result of the baffling and frustration of his wise conception and benificent designs. In the history of nations, as in that of philosophy, we are very apt to interject into ancient actors and thinkers modern ideas, at which, probably, they would have stood amazed. At the best, this view of the character and motives of Edward is a mere hypothesis. But, supposing him to have held that it was infinitely better for Scotland to submit to his rule, that hardly gave him a right to use violence, brutality, and murder to enforce his views.

When they start something for the artists to promote talent and art, but their focus and emphasis is on business side of whatever they started .They are going to sideline other artist and going to kill the spirit of art in others, because they are trying to make business out of artists forgetting how important is the artist and the art itself.

what psychologists call the fundamental attribution error, where you frequently make errors by attributing others’ behaviors to their internal, or fundamental, motivations rather than external factors. You are guilty of the fundamental attribution error whenever you think someone was mean because she is mean rather than thinking she was just having a bad day. You of course tend to view your own behavior in the opposite way, which is called self-serving bias. When you are the actor, you often have self-serving reasons for your behavior, but when you are the observer, you tend to blame the other’s intrinsic nature. (That’s why this model is also sometimes called actor-observer bias.)

if you start to talk about you do I buy you a mirror for your birthday? Robert Sherriff-Australian - Actor-Model-Poet- Author-Singer- Historian - Photographer Robert Sherriff Author of NOBODY'S HOME Robert Sherriff Author of Dirkbell – CHILDREN'S BOOK Part of Wolf Creek TV series 2015 Part of Movie 'Maurice’s Symphony’ 2015 Motivation Speaker Movie - Snuff 2016 Movie - CULT 2016 Australian Copyright Act 1968 0466246021

Being an actor is one of the hardest and easiest jobs a person can do. It is hard because you are always living as someone else. It is easy because your always living as someone else.

Competition for a financial reward is also what keeps Bitcoin’s blockchain secure. If any ill-motivated actors wanted to change Bitcoin’s blockchain, they would need to compete with all the other miners distributed globally who have in total invested hundreds of millions of dollars into the machinery necessary to perform PoW. The miners compete by searching for the solution to a cryptographic puzzle that will allow them to add a block of transactions to Bitcoin’s blockchain.

Whatever we once were,” Obama says on the video, “we’re no longer a Christian nation.”[464] He added, “Democracy demands that the religiously motivated translate their concerns into universal, rather than religion-specific values.… This is going to be difficult for some who believe in the inerrancy of the Bible, as many evangelicals do.”[465

To search for the clue to foreign policy exclusively in the motives of statesmen is both futile and deceptive. It is futile because motives are the most illusive of psychological data, distorted as they are, frequently beyond recognition, by the interests and emotions of actor and observer alike. Do we really know what our own motives are? And what do we know of the motives of others? Yet even if we had access to the real motives of statesmen, that knowledge would help us little in understanding foreign policies, and might well lead us astray. It is true that the knowledge of the statesman's motives may give us one among many clues as to what the direction of his foreign policy might be. It cannot give us, however, the one clue by which to predict his foreign policies. History shows no exact and necessary correlation between the quality of motives and the quality of foreign policy. This is true in both moral and political terms. We cannot conclude from the good intentions of a statesman that his foreign policies will be either morally praiseworthy or politically successful. Judging his motives, we can say that he will not intentionally pursue policies that are morally wrong, but we can say nothing about the probability of their success. If we want to know the moral and political qualities of his actions, we must know them, not his motives. How often have statesmen been motivated by the desire to improve the world, and ended by making it worse? And how often have they sought one goal, and ended by achieving something they neither expected nor desired?

If you want a job, and you’re not as good as the next guy, then work longer than the next guy. Work faster. Be there before him–because talented people show up late, and sometimes shit needs to get done. —Kevin Costner actor

Women have come a long way , since that day on September 7th 1968 , when they burnt myriad symbolic feminine products , including mops and bras , as a mark of protest . The women wanted to call world-wide attention to women's rights and women's liberation ! Today women are making headlines each and every day as the makers and creators of positive change in all walks of life . Be it as doctors , pilots , engineers , artists , writers , musicians, innovators, teachers , astronauts , researchers, managers , private or government employees , designers , scientists , dancers, singers, entrepreneurs , architects , bus-drivers , nurses , chefs , actors, athletes , politicians , or home-makers , women have been and are continuing to prove themselves that they are equal to or better than men in all walks of life ! A big 'Salute ' to all the women in the world !

An improper motive can render an actor’s conduct criminal even when the conduct would otherwise be lawful and within the actor’s authority

NBC would broadcast these public-service announcements. The Cosby kids would say things like, "Don't do drugs, because you've got a lot to live for." And I used to think, Well, okay--it's easy to say that, but some people are sitting at home and aren't from a rich family and might have no future. And here's a kid actor making shitloads of money, and he's telling everyone they have a lot to live for? It's hypocrisy on the grandest scale. Seeing something like that was always a motivation for me to create something more realistic. That was one of the things I dealt with in the "I'm with the Band" episode [of Freaks and Geeks], where Nick auditions to become a drummer. Lindsay tells Nick, "You've got to follow your dreams! You can be anything you want to be!" When I wrote that episode, it was my way of saying, "Actually, no. That's nonsense. You might have that attitude, but that's not the way the world works.

Alienation is the privilege of the honest. There is no space for him in others. In himself he is at home. When others are distracted and fleeing from themselves, he is focused on returning to himself. He is an outsider, a director looking in on the actors. Images flicker on the screen, yet he is unmoved by them. He knows the characters and their motives. He has seen the beginning and the end. Honesty is the privilege of the free.

Alienation is the privilege of the honest. There is no space for him in others. In himself he is at home. When others are distracted and fleeing from themselves, he is focused on returning to himself. He is an outsider, a director looking in on the actors. Images flicker on the screen, yet he is unmoved by them. He knows the characters and their motives. He has seen the beginning and the end. Honesty is his privilege because he is free.

That’s why I call you performers. Not actors—performers. Because when it’s time to prepare, you work out every nuance of a role. When it’s time to step in front of the crowd, you reach out and pull them in with both hands. When it’s time to say your lines, you deliver them with skill and meaning. That’s performance. And there’s nothing phony about that. There’s nothing pretend about that. There’s no acting that will take the place of that.

Hitler and Mussolini, by contrast, not only felt destined to rule but shared none of the purists’ qualms about competing in bourgeois elections. Both set out—with impressive tactical skill and by rather different routes, which they discovered by trial and error—to make themselves indispensable participants in the competition for political power within their nations. Becoming a successful political player inevitably involved losing followers as well as gaining them. Even the simple step of becoming a party could seem a betrayal to some purists of the first hour. When Mussolini decided to change his movement into a party late in 1921, some of his idealistic early followers saw this as a descent into the soiled arena of bourgeois parliamentarism. Being a party ranked talk above action, deals above principle, and competing interests above a united nation. Idealistic early fascists saw themselves as offering a new form of public life—an “antiparty”—capable of gathering the entire nation, in opposition to both parliamentary liberalism, with its encouragement of faction, and socialism, with its class struggle. José Antonio described the Falange Española as “a movement and not a party—indeed you could almost call it an anti-party . . . neither of the Right nor of the Left." Hitler’s NSDAP, to be sure, had called itself a party from the beginning, but its members, who knew it was not like the other parties, called it “the movement” (die Bewegung). Mostly fascists called their organizations movements or camps or bands or rassemblements or fasci: brotherhoods that did not pit one interest against others, but claimed to unite and energize the nation. Conflicts over what fascist movements should call themselves were relatively trivial. Far graver compromises and transformations were involved in the process of becoming a significant actor in a political arena. For that process involved teaming up with some of the very capitalist speculators and bourgeois party leaders whose rejection had been part of the early movements’ appeal. How the fascists managed to retain some of their antibourgeois rhetoric and a measure of “revolutionary” aura while forming practical political alliances with parts of the establishment constitutes one of the mysteries of their success. Becoming a successful contender in the political arena required more than clarifying priorities and knitting alliances. It meant offering a new political style that would attract voters who had concluded that “politics” had become dirty and futile. Posing as an “antipolitics” was often effective with people whose main political motivation was scorn for politics. In situations where existing parties were confined within class or confessional boundaries, like Marxist, smallholders’, or Christian parties, the fascists could appeal by promising to unite a people rather than divide it. Where existing parties were run by parliamentarians who thought mainly of their own careers, fascist parties could appeal to idealists by being “parties of engagement,” in which committed militants rather than careerist politicians set the tone. In situations where a single political clan had monopolized power for years, fascism could pose as the only nonsocialist path to renewal and fresh leadership. In such ways, fascists pioneered in the 1920s by creating the first European “catch-all” parties of “engagement,”17 readily distinguished from their tired, narrow rivals as much by the breadth of their social base as by the intense activism of their militants. Comparison acquires some bite at this point: only some societies experienced so severe a breakdown of existing systems that citizens began to look to outsiders for salvation. In many cases fascist establishment failed; in others it was never really attempted.

The key to making great choices is to plan well. Risk is also based on awareness. If you know your surroundings, you will be able to navigate the blocks better. The goal is to produce flawless results in bundents.

Imagine what movies could do to reality. Who would have thought an image could lead to a vocal point that could then paint a picture that would leave the audience wanting more.

Developing your inner peace is crucial for your growth as a person.

A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.

If there was one thing Snake knew about people, it was that once they got attached to a theory, it was hard to get them detached. They’d screen out unhelpful facts, invent favorable ones, and ignore contradictions in their own claims. Look at those Sandy Hook truthers, babbling about false flags and crisis actors and all the rest. When people were motivated enough to believe something, they were going to believe it no matter what.

For Penina Mezei petrify motive in folk literature stems from ancient, mythical layers of culture that has undergone multiple transformations lost the original meaning. Therefore, the origin of this motif in the narrative folklore can be interpreted depending on the assumptions that you are the primary elements of faith in Petrify preserved , lost or replaced elements that blur the idea of integrity , authenticity and functionality of the old ones . Motif Petrify in different genres varies by type of actor’s individuality, time and space, properties and actions of its outcome, the relationship of the narrator and singers from the text. The particularity of Petrify in particular genres testifies about different possibilities and intentions of using the same folk beliefs about transforming, says Penina Mezei. In moralized ballads Petrify is temporary or eternal punishment for naughty usually ungrateful children. In the oral tradition, demonic beings are permanently Petrifying humans and animals. Petrify in fairy tales is temporary, since the victims, after entering into the forbidden demonic time and space or breaches of prescribed behavior in it, frees the hero who overcomes the demonic creature, emphasizes Mezei. Faith in the power of magical evocation of death petrifaction exists in curses in which the slanderer or ungrateful traitor wants to convert into stone. In search of the magical meaning of fatal events in fairy tales, however, it should be borne in mind that they concealed before, but they reveal the origin of the ritual. The work of stone - bedrock Penina Mezei pointed to the belief that binds the soul stone dead or alive beings. Penina speaks of stone medial position between earth and sky, earth and the underworld. Temporary or permanent attachment of the soul to stone represents a state between life and death will be punished its powers cannot be changed. Rescue petrified can only bring someone else whose power has not yet subjugated the demonic forces. While the various traditions demons Petrifying humans and animals, as long as in fairy tales, mostly babe, demon- old woman. Traditions brought by Penina Mezei , which describe Petrify people or animals suggest specific place events , while in fairy tales , of course , no luck specific place names . Still Penina spotted chthonic qualities babe, and Mezei’s with plenty of examples of comparative method confirmed that they were witches. Some elements of procedures for the protection of the witch could be found in oral stories and poems. Fairy tales keep track of violations few taboos - the hero , despite the ban on the entry of demonic place , comes in the woods , on top of a hill , in a demonic time - at night , and does not respect the behaviors that would protect him from demons . Interpreting the motives Petrify as punishment for the offense in the demon time and space depends on the choice of interpretive method is applied. In the book of fairy tales Penina Mezei writes: Petrify occurs as a result of unsuccessful contact with supernatural beings Petrify is presented as a metaphor for death (Penina Mezei West Bank Fairytales: 150). Psychoanalytic interpretation sees in the form of witches character, and the petrification of erotic seizure of power. Female demon seized fertilizing power of the masculine principle. By interpreting the archetypal witch would chthonic anima, anabaptized a devastating part unindividualized man. Ritual access to the motive of converting living beings into stone figure narrated narrative transfigured magical procedures some male initiation ceremonies in which the hero enters into a community of dedicated, or tracker sacrificial rites. Compelling witches to release a previously petrified could be interpreted as the initiation mark the conquest of certain healing powers and to encourage life force, highlights the Penina.

Normally, making a moral judgment involves at least four specific considerations.6 First, you should consider the action itself. This is usually the focus of a moral judgment but hardly the only aspect of moral evaluation. Second, you should evaluate the motive of the person (called the “moral actor”) performing the action. In some cases the motive is the only difference between two otherwise identical actions. For example, your motive in giving something to someone is often the only difference between a gift and a bribe. Of course, sometimes you might not be able to determine the motive, in which case it cannot be assessed. Third, you should evaluate the consequences of your actions and decisions. Bear in mind, however, that actions may be inherently right or wrong, regardless of the consequences.