Audit Motivational Quotes

Staying at Home during this lockdown period is the right time to find your life purpose within Ba Ga Mohlala family/clan. This is an opportunity to know yourself better and to understand what motivates and feeds your mind and your soul, and also to find out as to where you fit in the bigger Ba Ga Mohlala family/clan. All members of each family/clan possess characteristics, abilities, and qualities specific to that family/clan. It is up to the family/clan to distinguish itself amongst other families/clans. Ba Ga Mohlala has become an institution to build cooperation in order to build and forge unity for social and economic benefits for Ba Ga Mohlala and Banareng in general. An institution is social structure in which people cooperate and which influences the behavior of people and the way they live. intelligence and assertiveness comes to us as our nature, it is in our blood (DNA) and all there is for us to do is to nature it and it will shine, otherwise it will gather dust and rust in us. The key of brotherhood and sisterhood is that brothers and sisters carry the same genetic code. Together, united, they carry the legacy of their forefathers. Our bond (through our shared blood/DNA) as Ba Ga Mohlala family/clan is our insurance for the future. As Ba Ga Mohlala we can have our own Law firms, Auditing Firms, Doctors's Medical Surgeries, Private School, Private Clinics or Private Hospital, farms and lot of small to medium manufacturing, service, retail and wholesale companies and become self relient. All it takes to achieve that is unity, willpower and commitment.

The Word of God judges the thoughts. The word "judge" means to critique, to be or act as a critic. This is to say that Scripture is able to accurately audit a person's life and size it up for what it is. The Word of God is able to examine the unseen attitudes and motivations, expose the secret ambitions and desires, and then render the divine verdict. Man looks on the outward appearance, but God looks upon the heart. This sharp, two-edged sword is able to penetrate into the hidden crevices of the heart and judge what only God can see. The Word makes known what we alone know about ourselves - and often what we do not yet know of ourselves. Scripture plunges deep into the unseen places of the human spirit and judges the private matters of the heart. Only the razor-sharp Word of God can do this.

Being able to review capabilities of a subject is also referred to as a before the fact audit and enables resource discovery. Before the fact audit has been noted as a key motivating feature behind the deployment of RBAC and includes being able to review the access consequences of assigning a user to a role. Resource discovery includes the capability for a user or administrator to discover or see accessible objects. Being able to review the access control entries of an object is equally important. Who are the subjects that can access this object and what are the consequences of assigning an object to an attribute or deleting an assignment?

Go where your energy is reciprocated, appreciated, & celebrated. Audit your engagements; compartmentalize & adjust accordingly. Analyze & reflect on how each person affects you - energies you're inviting into your space/environment. Do they motivate you or keep you stagnant?

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?

Don’t let your pride, status and ego cost you opportunities , because your pride could not allow you to stand in a line, to apply, to audition, to go for an interview, to ask for help, to apologize, to work for your friends or with your friends. To be seen or associated with someone and to work with smaller brands or businesses.

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.

Business is about putting you into action.” I was watching X-Factor auditioning and one of the contestants was engulfed in performing his lyrics, it did done on me that business is about putting you into action.

Crazy for You opens backstage at the Zangler Theatre, New York, where Bobby, desperate to break into showbusiness, performs an impromptu audition for the great impresario Bella Zangler. This is not a ‘book number’ – that’s to say, the music is not an expression of character or plot point arising from the dialogue, the defining convention of musical theatre. Instead, more prosaically, it’s a real number, a ‘prop number’: Bobby is backstage and doing the song for Zangler. So it’s sparely orchestrated – little more than a rehearsal piano and some support; it’s one chorus; and its tap-break ends with Bobby stamping on Zangler’s foot. This is grim reality: Bobby is expelled from the theatre. Outside, he makes a decision, and sings ‘I Can’t Be Bothered Now’ – the second song, but the real opening number: the first ‘book number’ in the show. There is an automobile onstage (it’s the 1930s) and, as Bobby opens the door, one showgirl, pretty in pink, steps out, then another, and another, and more and more, far more than could fit in any motor car; finally, Bobby raises the hood of the vehicle and the last chorine emerges. The audience leans back, reassured and content: Susan Stroman’s fizzy, inventive choreography has told them that what’s about to follow is romantic fantasy. More to the point, it’s true to the character of the song, and the choice of song is true to Bobby’s character and the engine of the drama: My bonds and shares May fall downstairs Who cares? Who cares? I’m dancing and I Can’t Be Bothered Now … This lyric captures the philosophy of Ira Gershwin’s entire oeuvre – which is important: the show is a celebration of Gershwin. But it’s also an exact expression of Bobby’s feelings and the reason why he heads to Dead Rock, Arkansas. So the number does everything it should: it defines the principal’s motivation; it kick-starts the plot; and it communicates the spirit of the score and the staging. Audiences don’t reason it out like that; we just eat it up. But that’s why.