Austin Powers 2 Quotes

John Chandler, who leads a Christian community in Austin, Texas, shared this: We’ve by far had the most success inviting people into our community life by inviting them to serve alongside us. As a matter of fact, that’s about the only thing that’s worked consistently as far as “official” church activities go.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

The Lowly Thermostat, Now Minter of Megawatts How Nest is turning its consumer hit into a service for utilities. Peter Fairley | 945 words • Google’s $3.2 billion acquisition of Nest Labs in January put the Internet of things on the map. Everyone had vaguely understood that connecting everyday objects to the Internet could be a big deal. Here was an eye-popping price tag to prove it. Nest, founded by former Apple engineers in 2010, had managed to turn the humble thermostat into a slick, Internet-connected gadget. By this year, Nest was selling 100,000 of them a month, according to an estimate by Morgan Stanley. At $249 a pop, that’s a nice business. But more interesting is what Nest has been up to since last May in Texas, where an Austin utility is paying Nest to remotely turn down people’s air conditioners in order to conserve power on hot summer days—just when electricity is most expensive. For utilities, this kind of “demand response” has long been seen as a killer app for a smart electrical grid, because if electricity use can be lowered just enough at peak times, utilities can avoid firing up costly (and dirty) backup plants. Demand response is a neat trick. The Nest thermostat manages it by combining two things that are typically separate—price information and control over demand. It’s consumers who control the air conditioners, electric heaters, and furnaces that dominate a home’s energy diet. But the actual cost of energy can vary widely, in ways that consumers only dimly appreciate and can’t influence. While utilities frequently carry out demand

Conceptual Games. Dr Nathan pondered the list on his desk-pad. (1) The catalogue of an exhibition of tropical diseases at the Wellcome Museum; (2) chemical and topographical analyses of a young woman’s excrement; (3) diagrams of female orifices: buccal, orbital, anal, urethral, some showing wound areas; (4) the results of a questionnaire in which a volunteer panel of parents were asked to devise ways of killing their own children; (5) an item entitled ‘self-disgust’ - someone’s morbid and hate-filled list of his faults. Dr Nathan inhaled carefully on his gold-tipped cigarette. Were these items in some conceptual game? To Catherine Austin, waiting as ever by the window, he said, ‘Should we warn Miss Novotny?’ Biomorphic Horror. With an effort, Dr Nathan looked away from Catherine Austin as she picked at her finger quicks. Unsure whether she was listening to him, he continued: ‘Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horror of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.’ Sink Speeds. During this period, after his return to Karen Novotny’s apartment, Travers was busy with the following projects: a cogent defence of the documentary films of Jacopetti; a contribution to a magazine symposium on the optimum auto-disaster; the preparation, at a former colleague’s invitation, of the forensic notes to the catalogue of an exhibition of imaginary genital organs. Immersed in these topics, Travers moved from art gallery to conference hall. Beside him, Karen Novotny seemed more and more isolated by these excursions. Advertisements of the film of her death had appeared in the movie magazines and on the walls of the underground stations. ‘Games, Karen,’ Travers reassured her. ‘Next they’ll have you filmed masturbating by a cripple in a wheel chair.

Dr. Esselstyn’s son Rip, a former swimmer and professional triathlete, and later an Austin, Texas–based fireman, authored a New York Times bestseller called The Engine 2 Diet, which, in plain English, demonstrates the power of a plant-based diet by chronicling the astounding health improvements of his Engine 2 firehouse colleagues who undertook his regime. And yet another influence on me was former pro triathlete and ultra-runner Brendan Brazier’s Thrive—a go-to primer that details all the hows and whys of plant-based nutrition for both athletic performance and optimum health.

The Aztecs located the Templo Mayor and surrounding sacred precinct – by far the grandest and most powerful nepantla-middled ritual time-place stretched out and put in place by human beings – at tlallinepantla (“in the middle of the earth”).159 Tlallinepantla coincided with the center of the earth (tlalli olloco),160 the navel of the earth (tlalxicco), the crossroads of the horizontal forces of the Fifth Sun-Earth Ordering, the confluence of vertical malinalli-twisting-spinning forces that ascend from below and descend from above the earth, and the axis mundi. Here is the meeting point of the four roads created by the four sons of Tonacatecuhtli~Tonacacihuatl (each associated with one of four intercardinal directions).161 In so doing, they arranged the earth into four quadrants and a center. Here, too, is the time-place defined by the crossing of two springs, red and blue (or yellow), on a small island in the middle of Lake Texcoco. Mendieta describes their crossing as formada a manera de una aspa de san Andrés (“shaped like a Saint Andrew’s cross”).162 Hernando Alvarado Tezozomoc likewise describes a spot defined by two springs intersecting one another. Van Zantwjik, Berdan and Anawalt, and Heyden read Tezozomoc as claiming the two springs are Tleatl-Atlatlayan (“Fire Water, Place of Burning Water”) and Matlalatl-Toxpalatl (“Dark Blue Water, Yellow Water”). The former ran from east to west, the latter, from north to south, and so they crossed one another.163 López Austin and López Lujan, however, read Tezozomoc as identifying the two intersecting springs as Matlalatl (“Dark Blue Water) and Toxpalatl (“Yellow Water”).164 Either way, their intersecting divides the island into four quadrants and forms the St. Andrew’s cross depicted in Codex Mendoza, fol. 2r. Dúran says the Aztecs found the sight of yellow and blue streams “espanto” (“frightening, terrifying, astonishing, awesome”).165 Next to this spot was where an eagle perched upon a prickly pear cactus. Lastly, here, too, the Aztecs constructed their Huey Tocalli. After building their first temple at the site, the Aztecs ordered the surrounding area divided into four quarters, with the Huey Teocalli at their intersection. The roads of Tepeyac, Itztapalapa, and Tlacopan, which arranged the city into four quadrants and served as communication routes between the island and the surrounding lake shores, intersected at the Huey Teocalli, forming a grand human-constructed crossroads with the Huey Tecocalli at its center.166 All of these crossings and intersectings coincided with one another as well as with the center of the earth, the navel of the earth, and the axis mundi. Codex Mendoza (fol. 2r) depicts the founding of Tenochtitlan at this nepantla-middled, nepantla-intersecting time-place (see Figure 4.10).

When you’re surrounded by enemies, don’t rely on man-made fortifications or military power. Trust God.

Willa: I just got up. Cade: Okay? Willa: I’m making coffee. Cade: Alright. Willa: I’m getting dressed for the day. Panties? CHECK. Cade: Too much information. Willa: Luke is now awake. Cade: Oh good. Willa: He peed. Cade: The bed? Willa: No. In the toilet. Sounded like a big one. Like when Austin Powers comes out of being frozen or whatever. Cade: Why are you telling me this? Willa: Just keeping you apprised of *everything we do!!!* Cade: I already regret telling you that. Willa: Oh, I’m just getting started. Cade: Willa. Willa: Remember that time you BEGGED me to stay?