Drama Follows You Quotes

Secrets,’ she replied, casting my trousers aside, ‘are difficult things. Not precise. Not always the same for the one who tells as for the one who receives. They make demands. They may cause you to ask yourself, “Am I worthy?”’ At which, as if to illustrate the point, she removed her bra and watched me follow the lines of her magnificent form with my eyes.

Understand: people judge you by appearances, the image you project through your actions, words, and style. If you do not take control of this process, then people will see and define you the way they want to, often to your detriment. You might think that being consistent with this image will make others respect and trust you, but in fact it is the opposite—over time you seem predictable and weak. Consistency is an illusion anyway—each passing day brings changes within you. You must not be afraid to express these evolutions. The powerful learn early in life that they have the freedom to mold their image, fitting the needs and moods of the moment. In this way, they keep others off balance and maintain an air of mystery. You must follow this path and find great pleasure in reinventing yourself, as if you were the author writing your own drama

It never ceases to amaze me the precious time we spend chasing the squirrels around our brains, playing out our dramas, worrying about unwanted facial hair, seeking adoration, justifying our actions, complaining about slow Internet connections, dissecting the lives of idiots, when we are sitting in the middle of a full-blown miracle that is happening right here, right now. We're on a planet that somehow knows how to rotate on its axis and follow a defined path while it hurtles through space! Our hearts beat! We can see! We have love, laughter, language, living rooms, computers, compassion, cars, fire, fingernails, flowers, music, medicine, mountains, muffins!

Bonnyman quickly walked over to the head and picked it up by the hair. He held it in front of his face. ‘Tell me whose orders you follow,’ he said in a gentle voice that Zam didn’t think he possessed. The wraith looked past Bonnyman, staring at its body twitching on the floor. ‘Never your orders,’ it gasped, before closing its eyes forever.

The truth is that Fate does not go out of its way to be dramatic. If you or I had the power of life and death in our hands, we should no doubt arrange some remarkably bright and telling effects. A man who spilt the salt callously would be drowned next week in the Dead Sea, and a couple who married in May would expire simultaneously in the May following. But Fate cannot worry to think out all the clever things that we should think out. It goes about its business solidly and unromantically, and by the ordinary laws of chance it achieves every now and then something startling and romantic. Superstition thrives on the fact that only the accidental dramas are reported.

Basically, being alive means keeping yourself ready for the sky to fall in on you at any time. If you start from the assumption that existence is only an ordeal, a test we have to pass, then you’re equipped to deal with its sorrows and its surprises. If you persist in expecting it to give you something it can’t give, that just proves that you haven’t understood anything. Take things as they come; don’t turn them into a drama. You’re not piloting the ship, you’re following the course of your destiny.

Adventure is important in life. Making memories matters. It doesn’t have to be a secret sea plane and an historic sports moment. But to have a great life, you need great memories. Grab any intriguing offer. Say yes to a challenge, and to the unknown. Be creative in adding drama and scope to your own life. Work at it, like a job. Money from effort comes and goes. But effort from imagination and following adventure creates stories that you keep forever. And anyone can do it.

But no matter what happens, the earth keeps turning. Monday always comes and eventually, sometimes excruciatingly slowly, that Monday is followed by a Friday. You take tests, hand in papers you wrote at two in the morning the day they were due, and your shoes get worn out, and the pollen in the air increases so that you go through an entire package of tissues during the SATs, and you wander through the crowds at parties looking for Natalie Banks because you came with her, and you watch her take off for the backyard with a senior who seems to be in the backyard with a different girl at every party, and you learn to play chess with your dad, and you eat too much ice cream, and your favorite television drama has its two-hour season finale, and then suddenly the school year ends and you pack your bags for Tennessee.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

Adventure is important in life. Making memories matters. It doesn't have to be a secret seaplane and a historic sports moment, but to have a great life you need great memories. Grab any intriguing offer. Say yes to a challenge and to the unknown. Be creative in adding drama and scope to your lfe. Work at it like a job. Money from effort comes and goes, but effort from imagination and following adventure creates stories that you keep forever. And anyone can do it.

Look. I know why you gave me that speech earlier today. I know you have an obligation to protect your vampires. But irrespective of the way that I was made, I have done everything that you’ve asked of me. I’ve taken training, I gave up my dissertation, I moved into the House, I got you in to see my father, I got you into the Breckenridge house, and I’ve dated the man you asked me to.” I pointed at the house behind us. “And even though I was supposed to get a few hours free from the drama of Cadogan House tonight with said man, I followed you here because you requested it. At some point, Ethan, you might consider giving me a little credit.” I didn’t wait for him to answer, but turned on my heel and went to the car. I opened the back door, climbed inside, and slammed it shut behind me. Catcher caught my gaze in the rearview mirror. “Feel better?” “Is he still standing there with that dumbstruck expression on his face?” There was a pause while he checked, then a chuckle. “Yes, he is.” “Then, yes, I feel better.

I had this advantage, at least, in my mode of life, over those who were obliged to look abroad for amusement, to society and the theatre, that my life itself was become my amusement and never ceased to be novel. It was a drama of many scenes and without an end. If we were always, indeed, getting our living, and regulating our lives according to the last and best mode we had learned, we should never be troubled with ennui. Follow your genius closely enough, and it will not fail to show you a fresh prospect every hour.

EMOTIONAL ABANDONMENT AND NARCISSISTIC DEPRIVATION Children need mirroring and echoing. These come from their primary caregiver’s eyes. Mirroring means that someone is there for them and reflects who they really are at any given moment of time. In the first three years of our life each of us needed to be admired and taken seriously. We needed to be accepted for the very one we are. Having these mirroring needs met results in what Alice Miller calls our basic narcissistic supplies. These supplies result from good mirroring by a parent with good boundaries. When this is the case, as Miller states in The Drama of the Gifted Child, the following dynamics take place: 1. The child’s aggressive impulses can be neutralized because they do not threaten the parent. 2. The child’s striving for autonomy is not experienced as a threat to the parent.

to have a great life you need great memories. Grab any intriguing offer. Say yes to a challenge and to the unknown. Be creative in adding drama and scope to your life. Work at it like a job. Money from effort comes and goes, but effort from imagination and following adventure creates stories that you keep forever. And anyone can do it.

She sat next to me and told me that we were the people that the narrative would have followed out from the party if we were in a movie or a novel or something. We were where the story was, the story you could follow like a string, not all the overlapping party stories in the house, tangled up with too many dramas soaked in cheap alcohol and stuffed into not enough rooms.

In the course of your life you will be continually encountering fools. There are simply too many to avoid. We can classify people as fools by the following rubric: when it comes to practical life, what should matter is getting long term results, and getting the work done in as efficient and creative a manner as possible. That should be the supreme value that guides people’s action. But fools carry with them a different scale of values. They place more importance on short-term matters – grabbing immediate money, getting attention from the public or media, and looking good. They are ruled by their ego and insecurities. They tend to enjoy drama and political intrigue for their own sake. When they criticize, they always emphasize matters that are irrelevant to the overall picture or argument. They are more interested in their career and position than in the truth. You can distinguish them by how little they get done, or by how hard they make it for others to get results. They lack a certain common sense, getting worked up about things that are not really important while ignoring problems that will spell doom in the long term. The natural tendency with fools is to lower yourself to their level. They annoy you, get under your skin, and draw you into a battle. In the process, you feel petty and confused. You lose a sense of what is really important. You can’t win an argument or get them to see your side or change their behavior, because rationality and results don’t matter to them. You simply waste valuable time and emotional energy. In dealing with fools you must adopt the following philosophy: they are simply a part of life, like rocks or furniture. All of us have foolish sides, moments in which we lose our heads and think more of our ego or short-term goals. It is human nature. Seeing this foolishness within you, you can then accept it in others. This will allow you to smile at their antics, to tolerate their presence as you would a silly child, and to avoid the madness of trying to change them. It is all part of the human comedy, and it is nothing to get upset or lose sleep over.

Focus on the good. Don’t sweat the small stuff. Don’t let anyone steal your joy. Stay away from drama. Love & accept yourself. Follow your heart. Cherish your loved ones. Be thankful for what you have. Just be yourself.

... you can also be sure that, no matter how many heroic remedies the playwright invents, ninety-nine drama critics out of a hundred will declare the suicide is absurd and the play unbelievable. For life, happily filled with shameless absurdities, has the rare privilege of being able to ignore credibility, whereas art feels called upon to pay attention to it. Life's absurdities don't have to seem believable, because they are real. As opposed to art's absurdities which, to seem real, have to be believable. Then, when they are believable, they are no longer absurd. An event in life may be absurd; a work of art, if it is a work of art, cannot be. It therefore follows that to criticize, in the name of life, a work of art for being absurd and unbelievable is sheer stupidity. In the name of art, yes. But not in the name of life.

When you feel the need to escape your problems, to escape from this world, don't make the mistake of resorting to suicide Don't do it! You will hear the empty advice of many scholars in the matter of life and death, who will tell you, "just do it" there is nothing after this, you will only extinguish the light that surrounds you and become part of nothingness itself, so when you hear these words remember this brief review of suicide: When you leave this body after committing one of the worst acts of cowardice that a human being can carry out, you turn off the light, the sound and the sense of reality, you become nothing waiting for the programmers of this game to pick you up from the darkness, subtly erase your memories and enable your return and I emphasize the word subtle because sometimes the intelligence behind this maneuver or automated mechanism is wrong and send human beings wrongly reset to such an extent, that when they fall to earth and are born again, they begin to experience memories of previous lives, in many cases they perceive themselves of the opposite sex, and science attributes this unexplainable phenomenon to genetic and hormonal factors, but you and I know better! And we quickly identified this trigger as a glitch in the Matrix. Then we said! That a higher intelligence or more advanced civilization throws you back into this game for the purpose of experimenting, growing and developing as an advanced consciousness and due to your toxic and destructive behavior you come back again but in another body and another life, but you are still you, then you will carry with you that mark of suicide and cowardice, until you learn not to leave this experience without having learned the lesson of life, without having experienced and surprised by death naturally or by design of destiny. About this first experience you will find very little material associated with this event on the internet, it seems that the public is more reserved, because they perceive themselves and call themselves "awakened" And that is because the system has total control over the algorithm of fame and fortune even over life and death. Now, according to religion and childish fears, which are part of the system's business to keep you asleep, eyes glued to the cellular device all day, it says the following: If you commit this act of sin, you turn off light, sound and sense of reality, and from that moment you begin to experience pain, fear and suffering on alarming scales, and that means they will come for you, a couple of demons and take you to the center of the earth where the weeping and gnashing of teeth is forever, and in that hell tormented by demons you will spend eternity. About this last experience we will find hundreds of millions of people who claim to have escaped from there! And let me tell you that all were captivated by the same deity, one of dubious origin, that feeds on prayers and energetic events, because it is not of our nature, because it knows very well that we are beings of energy, then this deity or empire of darkness receives from the system its food and the system receives from them power, to rule, to administer, to control, to control, to kill, to exclude, to inhibit, to classify, to imprison, to silence, to infect, to contaminate, to depersonalize. So now that you know the two sides of the same coin, which one will your intelligence lean towards! You decide... Heads or tails? From the book Avatars, the system's masterpiece.

Here we go then," Dad says. "Motoring towards our dreams, Bridge." "You shouldn't follow dreams," Grandma announces. "Why?" I ask her. "Because it's a road paved with disappointments, that's why. People should get on with what they've blinking well got at home." "You can't tell people what their dreams are meant to be." "I can. But they never listen, do they?

[I]t seems that everyone has fallen under the thrall of this idea that we’re all writers and dramatists now, that each of us has a special voice and something very important to say, usually about a feeling we have, and all this gets expressed in the black maw of social media billions of times a day. Usually this feeling is outrage, because outrage gets attention, outrage gets clicks, outrage can make your voice heard above the deafening din of voices squalling over one another in this nightmarish new culture—and the outrage is often tied to a lunacy demanding human perfection, spotless citizens, clean and likable comrades, and requiring thousands of apologies daily. Advocating while creating your own drama and your brand is where the game is now. And if you don’t follow the new corporate rules accordingly you are banished, exiled, erased from history.

Adventure is important in life. Making memories matters. It doesn’t have to be a secret seaplane and a historic sports moment, but to have a great life you need great memories. Grab any intriguing offer. Say yes to a challenge and to the unknown. Be creative in adding drama and scope to your life. Work at it like a job. Money from effort comes and goes, but effort from imagination and following adventure creates stories that you keep forever. And anyone can do it.

As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers.

We have some great museums. You'd love the lake." "I don't know that I can enjoy any kind of water anymore." "Why not?" I already knew. "After that little girl, little Ann Nash, was left in the creek to drown." She paused to take a sip of her iced tea. "I knew her, you know." Amma whined and began fidgeting in her seat. "She wasn't drowned though," I said, knowing my correction would annoy her. "She was strangled. She just ended up in the creek." "And then the Keene girl. I was fond of both of them. Very fond." She stared away wistfully, and Alan put his hand over hers. Amma stood up, released a little scream the way an excited puppy might suddenly bark, and ran upstairs. "Poor thing," my mother said. "She's having nearly as hard a time as I am." "She actually saw the girls every day, so I'm sure she is," I said peevishly in spite of myself. "How did you know them?" "Wind Gap, I need not remind you, is a small town. They were sweet, beautiful little girls. Just beautiful." "But you didn't really know them." "I did know them. I knew them well." "How?" "Camille, please try not to do this. I've just told you that I am upset and unnerved, and instead of being comforting, you attack me." "So. You've sworn off all bodies of water in the future, then?" My mother emitted a quick, creaky sound. "You need to shut up now, Camille." She folded the napkin around the remains of her pear like a swaddling and left the room. Alan followed her with his manic whistling, like an old-time piano player lending drama to a silent movie.

Where's Mason?” “Planting explosives.” Zinio did a double take. “You actually handed that man explosives?” “Damn it, Zinio. Let other people have some fun.” The explosion in the distance was followed by Mason yelling, “Yahoo!” Zinio and Delaney stared speechless as Mason flew by in the adjoining tunnel, riding the concussion wave of the blast. Finally, Zinio stomped after him. He peeled him off the floor in the adjoining tunnel. “You having fun yet?” “Hell yeah!” “Wanna go again?” “Hell yeah I wanta go again!” A short while later, Zinio watched Mason fly by on a concussion wave from the latest explosion, as Mason shouted, “Hot Diggity!” Zinio made his way over to the somewhat more charcoaled Mason. “You had enough yet?” Mason nodded shakily. “Good—because it'd be nice if we actually put a hole in the fricking wall! That is the object of this little exercise.

Consider for a few moments the enormous aesthetic claim of its chief contemporary rival—what we may loosely call the Scientific Outlook, 1 the picture of Mr. [H. G.] Wells and the rest. Supposing this to be a myth, is it not one of the finest myths which human imagination has yet produced? The play is preceded by the most austere of all preludes: the infinite void, and matter restlessly moving to bring forth it knows not what. Then, by the millionth millionth chance—what tragic irony—the conditions at one point of space and time bubble up into that tiny fermentation which is the beginning of life. Everything seems to be against the infant hero of our drama—just as everything seems against the youngest son or ill-used stepdaughter at the opening of a fairy tale. But life somehow wins through. With infinite suffering, against all but insuperable obstacles, it spreads, it breeds, it complicates itself, from the amoeba up to the plant, up to the reptile, up to the mammal. We glance briefly at the age of monsters. Dragons prowl the earth, devour one another, and die. Then comes the theme of the younger son and the ugly duckling once more. As the weak, tiny spark of life began amidst the huge hostilities of the inanimate, so now again, amidst the beasts that are far larger and stronger than he, there comes forth a little naked, shivering, cowering creature, shuffling, not yet erect, promising nothing, the product of another millionth millionth chance. Yet somehow he thrives. He becomes the Cave Man with his club and his flints, muttering and growling over his enemies’ bones, dragging his screaming mate by her hair (I never could quite make out why), tearing his children to pieces in fierce jealousy till one of them is old enough to tear him, cowering before the horrible gods whom he created in his own image. But these are only growing pains. Wait till the next act. There he is becoming true Man. He learns to master Nature. Science comes and dissipates the superstitions of his infancy. More and more he becomes the controller of his own fate. Passing hastily over the present (for it is a mere nothing by the time scale we are using), you follow him on into the future. See him in the last act, though not the last scene, of this great mystery. A race of demigods now rules the planet—and perhaps more than the planet—for eugenics have made certain that only demigods will be born, and psychoanalysis that none of them shall lose or smirch his divinity, and communism that all which divinity requires shall be ready to their hands. Man has ascended his throne. Henceforward he has nothing to do but to practise virtue, to grow in wisdom, to be happy. And now, mark the final stroke of genius. If the myth stopped at that point, it might be a little bathetic.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

Quickly I find another surprise. The boys are wilder writers — less careful of convention, more willing to leap into the new. I start watching the dozens of vaguely familiar girls, who seem to have shaved off all distinguishing characteristics. They are so careful. Careful about their appearance, what they say and how they say it, how they sit, what they write. Even in the five-minute free writes, they are less willing to go out from where they are — to go out there, where you have to go, to write. They are reluctant to show me rough work, imperfect work, anything I might criticize; they are very careful to write down my instructions word by word. They’re all trying themselves on day by day, hour by hour, I know — already making choices that will last too unfairly long. I’m surprised to find, after a few days, how invigorating it all is. I pace and plead for reaction, for ideas, for words, and gradually we all relax a little and we make progress. The boys crouch in their too-small desks, giant feet sticking out, and the girls perch on the edge, alert like little groundhogs listening for the patter of coyote feet. I begin to like them a lot. Then the outlines come in. I am startled at the preoccupation with romance and family in many of these imaginary futures. But the distinction between boys and girls is perfectly, painfully stereotypical. The boys also imagine adventure, crime, inventions, drama. One expects war with China, several get rich and lose it all, one invents a time warp, another resurrects Jesus, another is shot by a robber. Their outlines are heavy on action, light on response. A freshman: “I grow populerity and for the rest of my life I’m a million air.” [sic] A sophomore boy in his middle age: “Amazingly, my first attempt at movie-making won all the year’s Oscars. So did the next two. And my band was a HUGE success. It only followed that I run the country.” Among the girls, in all the dozens and dozens of girls, the preoccupation with marriage and children is almost everything. They are entirely reaction, marked by caution. One after the other writes of falling in love, getting married, having children and giving up — giving up careers, travel, college, sports, private hopes, to save the marriage, take care of the children. The outlines seem to describe with remarkable precision the quietly desperate and disappointed lives many women live today.

All kinds of things are happening to me." I begin. ,,Some I choose, some I didn't. I don't know how to tell one from the other any more. What I mean is, it feels like everything's been decided in advance - that I'm following a path somebody else has already mapped out for me. It doesn't matter how much I think things over, how much effort I put into it. In fact, the harder I try, the more I lose my sense od who I am. It's as if my identity's an orbit that I've strayed far away from, and that really hurts. But more than that, it scares me. Just thinking about it makes me flinch. Oshima gazes deep into m eyes. "Listen, Kafka. What you are experiencing now is the motif od many Greek tragedies. Man does not chose fate. Fate chooses man. That is the basic world view of Greek drama. And the sense od tragedy - according to Aristotle - somes, ironically enough, not drom the protagonist's weak points but from his good qualities. Do you know what I am getting at? People are drawn deeper into tragedy not by their defects but by their virtues. Sophocles' Oedipus Rex being a Great example. Oedipus is drawn into tragedy not because of lazines or stupidity, but because of his courage and honesty. So an inevitable irony results.

But as time passes and the evidence continues to accumulate, our hero suddenly changes direction and begins using public-relations jujitsu. He says, “We’re trying to get to the bottom of this.” We. Suddenly, he’s on the side of the law. “We’re trying to get to the bottom of this, so we can get the facts out to the American people.” Nice. The American people. Always try to throw them in; it makes it sound as if you actually care. As the stakes continue to rise, our hero now makes a subtle shift and says, “I’m willing to trust in the fairness of the American people.” Clearly, he’s trying to tell us something: that there may just be a little fire causing all the smoke. But notice he’s still at the I-have-nothing-to-hide stage. But then, slowly, “I’m willing to trust in the fairness of the American people” progresses to “There is no credible evidence,” and before long, we’re hearing the very telling, “No one has proven a thing.” Now, if things are on track in this drama, and the standard linguistic path of the guilty is being followed faithfully, “No one has proven a thing” will precede the stage when our hero begins to employ that particularly annoying technique: Ask-yourself-questions-and-then-answer-them: “Did I show poor judgment?

There is no silence upon the earth or under the earth like the silence under the sea; No cries announcing birth, No sounds declaring death. There is silence when the milt is laid on the spawn in the weeds and fungus of the rock-clefts; And silence in the growth and struggle for life. The bonitoes pounce upon the mackerel, And are themselves caught by the barracudas, The sharks kill the barracudas And the great molluscs rend the sharks, And all noiselessly-- Though swift be the action and final the conflict, The drama is silent. There is no fury upon the earth like the fury under the sea. For growl and cough and snarl are the tokens of spendthrifts who know not the ultimate economy of rage. Moreover, the pace of the blood is too fast. But under the waves the blood is sluggard and has the same temperature as that of the sea. There is something pre-reptilian about a silent kill. Two men may end their hostilities just with their battle-cries, 'The devil take you,' says one. 'I'll see you in hell,' says the other. And these introductory salutes followed by a hail of gutturals and sibilants are often the beginning of friendship, for who would not prefer to be lustily damned than to be half-heartedly blessed? No one need fear oaths that are properly enunciated, for they belong to the inheritance of just men made perfect, and, for all we know, of such may be the Kingdom of Heaven. But let silent hate be put away for it feeds upon the heart of the hater. Today I watched two pairs of eyes. One pair was black and the other grey. And while the owners thereof, for the space of five seconds, walked past each other, the grey snapped at the black and the black riddled the grey. One looked to say--'The cat,' And the other--'The cur.' But no words were spoken; Not so much as a hiss or a murmur came through the perfect enamel of the teeth; not so much as a gesture of enmity. If the right upper lip curled over the canine, it went unnoticed. The lashes veiled the eyes not for an instant in the passing. And as between the two in respect to candour of intention or eternity of wish, there was no choice, for the stare was mutual and absolute. A word would have dulled the exquisite edge of the feeling. An oath would have flawed the crystallization of the hate. For only such culture could grow in a climate of silence-- Away back before emergence of fur or feather, back to the unvocal sea and down deep where the darkness spills its wash on the threshold of light, where the lids never close upon the eyes, where the inhabitants slay in silence and are as silently slain.

I’m sure I’ve never heard of this one. You?” Eve shook her head. “I’m not much of a follower of the bard.” Shrugging, Rose settled back in her seat and waited. This was either going to be very good or very bad. It ended up being the latter. The play seemed disjointed, although the blame for that couldn’t be put totally on Lord Battenfield. His acting abilities were next to nonexistent, but he made up for it in sheer drama. Rose recognized some of his lordships “company” as various children of titled families. They seemed to be having a good time. But the play! In this case the play was not the thing. Neither it nor the people acting it out could seem to decide if it was a tragedy or a comedy and so the audience never knew whether or not they should laugh. Rose was amongst them. Timon began the play as a posturing, wealthy character like many modern aristos, caring about nothing but money. Lord Battenfield played this with a naïve bravado that made it highly amusing. But then Timon lost his fortune and none of his former friends would help him. This should have been a serious moment in the production, but it wasn’t. Finally, when Timon realizes the servant Flavius is his only friend and then seems to commit suicide in the wilderness, what could have been a poignant commentary on society became a joke when Lord Battenfield’s death scene revealed that he was completely naked beneath the toga. It was just a glimpse, but Rose was certain she would be scarred for life. She and Eve were trying to control their giggles when the curtains fell.

The empowerment triangle turns drama upside-down, transforming the persecutor (or scapegoat) into a challenger, the rescuer into a coach, and the victim into a creator. The empowerment dynamic allows all the roles to be essential for growth. In the drama triangle, the persecutor works with issues of power, the rescuer works with issues of responsibility, and the victim works with area of vulnerability: The drama triangle is familiar to many of us. We all know this pattern inside ourselves. We get stuck in a situation that we want to escape, and it creates drama. By leaning into the dynamic and entering deeper into relationship, we can work the energy so that it becomes an enriching transformation. If you can work this in a group, then you’ve subdued the scapegoat archetype and turned it into something more life affirming. The most important thing about the drama triangle is to make people aware of it. When a group can understand and recognize how this is a kind of destructive pattern, it becomes empowered to change the pattern. Uncoupling drama from our organizational and personal lives is the key. The group as a whole can embody a role to create safety and make sense of the system. Transformation from the drama to the redeemed starts with a pause, then an inquiry of what’s happening here, then a recollection of the three roles and who is playing what role in this context. Once the system is self-aware, ask the questions: “what else is possible? How can I become so centered that something new can happen? How can a new perception take place?” With enough safety and connection, the group will be able to follow the healing energy into re-organization and re-integration of the parts. Claiming or remembering your own archetype can protect against falling into one.

You might expect that if you spent such an extended period in twelve different households, what you would gather is twelve different ideas about how to raise children: there would be the strict parents and the lax parents and the hyperinvolved parents and the mellow parents and on and on. What Lareau found, however, is something much different. There were only two parenting “philosophies,” and they divided almost perfectly along class lines. The wealthier parents raised their kids one way, and the poorer parents raised their kids another way. The wealthier parents were heavily involved in their children’s free time, shuttling them from one activity to the next, quizzing them about their teachers and coaches and teammates. One of the well-off children Lareau followed played on a baseball team, two soccer teams, a swim team, and a basketball team in the summer, as well as playing in an orchestra and taking piano lessons. That kind of intensive scheduling was almost entirely absent from the lives of the poor children. Play for them wasn’t soccer practice twice a week. It was making up games outside with their siblings and other kids in the neighborhood. What a child did was considered by his or her parents as something separate from the adult world and not particularly consequential. One girl from a working-class family—Katie Brindle—sang in a choir after school. But she signed up for it herself and walked to choir practice on her own. Lareau writes: What Mrs. Brindle doesn’t do that is routine for middle-class mothers is view her daughter’s interest in singing as a signal to look for other ways to help her develop that interest into a formal talent. Similarly Mrs. Brindle does not discuss Katie’s interest in drama or express regret that she cannot afford to cultivate her daughter’s talent. Instead she frames Katie’s skills and interests as character traits—singing and acting are part of what makes Katie “Katie.” She sees the shows her daughter puts on as “cute” and as a way for Katie to “get attention.

Please don't misunderstand me. I'm not saying motherhood lacks meaning. There's great dignity in the smallness of motherhood; we're essential in our contingency. And though we may not follow the Western model of the epic hero, we mothers can find a metaphor for our lives. The metaphor is in the kuroko, the Kabuki theater stage assistant. You've heard of Kabuki—with its wildly theatrical actors, its gorgeous costumes, and spectacular scale. The kuroko are assistants who help the actors move through their elaborate dramas. Meant to provide unobtrusive assistance with props and costumes, kuroko try to remain in the wings. They huddle in half-kneeling posture, wearing black bags over their heads and bodies—the better to recede into both actors' and audience's preconscious mind. Scurrying to arrange the trailing hems of heavy brocade kimonos, like an American mother repeatedly straightening her daughter's wedding train, the kuroko's role is to suport the real players of life's dramas.

Where you look you follow so never look back and never look down. This quote is especially useful if you happen to be riding a horse.

Weeds have a way of choking out grass. Nevertheless, I was told that if I just kept up with the seeds, eventually the grass would take root and there would be more grass than weeds. And wouldn’t you know that’s exactly what happened? Once the grass took root and began to grow, I only noticed weeds here and there and I was able to deal with them one at a time by plucking them and removing them. You see, when your heart is filled with more Word than “as the world turns,” then you will begin to thrive. You will begin to be able to deal with the weeds of financial difficulty and relationship drama as they pop up. The Word in your heart will begin to choke out the weeds instead of the other way around.

The Scarlet Cord “Our lives for your lives!” the men assured her. “If you don’t tell what we are doing, we will treat you kindly and faithfully when the Lord gives us the land. …This oath you made us swear will not be binding on us unless, when we enter the land, you have tied this scarlet cord in the window through which you let us down…”—Joshua 2:14, 17 Can you imagine the feelings of the children of the exodus? Finally they are camped near the Jordan, the Promised Land in sight. In three days they will cross the river. One last thing before crossing: Joshua secretly sends two spies to reconnoiter Jericho. Upon entering the city, the spies find their way to the house of the local prostitute, Rahab, ostensibly an inn. Think about it—she of all people would know what was going on in the minds of the influential. As it turned out there were no giants in the land this time around, only men consumed with a great fear of the Israelites and their God (Joshua 2:8). Problem was, on the way to Rahab’s house the spies had somehow blown their cover. Fortunately Rahab was able to hide the two, and with a little subterfuge convince the king’s henchmen they had left by the city gate. In return for her kindness, the spies agreed to spare the lives of her family when they returned to conquer Jericho. Her part in the rescue would be to tie the scarlet cord in her window to identify her house. Follow the drama ladies: Our lives for your lives!—the oath to spare their lives is clear; this scarlet cord in this window—the way to safety specific. No less dramatic is the way to heaven. Jesus might have put it this way: My life for your lives. I’ve already dyed the cord scarlet. You simply have to hang it, in faith, in the window of your soul. Then, and only then, is my oath binding. Ladies, Rahab hung that scarlet cord in her window. Have you?

He is a middle-class man trying to get by in an oligarchic world. Thirty years ago, Mantel’s Cromwell would have been of limited interest. His virtues—hard work, self-discipline, domestic respectability, a talent for office politics, the steady accumulation of money, a valuing of stability above all else—would have been dismissed as mere bourgeois orthodoxies. If they were not so boring they would have been contemptible. They were, in a damning word, safe. But they’re not safe anymore. They don’t assure security. As the world becomes more oligarchic, middle-class virtues become more precarious. This is the drama of Mantel’s Cromwell—he is the perfect bourgeois in a world where being perfectly bourgeois doesn’t buy you freedom from the knowledge that everything you have can be whipped away from you at any moment. The terror that grips us is rooted not in Cromwell’s weakness but in his extraordinary strength. He is a perfect paragon of meritocracy for our age. He is a survivor of an abusive childhood, a teenage tearaway made good, a self-made man solely reliant on his own talents and entrepreneurial energies. He could be the hero of a sentimental American story of the follow-your-dreams genre. Except for the twist—meritocracy goes only so far. Even Cromwell cannot control his own destiny, cannot escape the power of entrenched privilege. And if he, with his almost superhuman abilities, can’t do so, what chance do the rest of us have? This terror

Being pessimistic and expecting the worst is a posttraumatic symptom. It’s our misguided way of shielding ourselves from future disappointments, by not even hoping or trying in the first place. Pessimism gives you permission to not even attempt something fulfilling or healthful. You decide ahead of time that it’s pointless to make an effort to lose weight, write that book, finish school, or follow your dreams. In fact, the favorite phrase of pessimism is “Dream on!”—as if it’s crazy to dream about a better tomorrow. After all, if your yesterday was horribly painful, why should you expect today or tomorrow to be any better? It’s a negativity cycle, because if you don’t attempt to improve your conditions, then nothing will improve . . . and, most likely, things will worsen due to your neglecting yourself.

Following a trauma at any age, there’s a reduction in the number of neural pathways between the limbic system (pertaining to feelings) and the cortex system (managing thought and cognition). So after being traumatized, you’re less aware of your feelings.

So what does it take to be a good therapist? First of all, you must love doing therapy. You must believe in your own creative power to put things together with vision and insight. You must have confidence in your understanding of people involved. You must love the drama and be fascinated with the sudden revelations that bring enormous changes. You must stand for truth and be able to question everything, down to everyone’s secret motives. You must love humanity and be willing to empathise with all those who suffer, to get inside their skin and see the world through their eyes. You must dream and follow your imagination wherever it leads. You must love humour for it restores balance. You must delight in language and all it’s nuances. You must be sensitive to life’s contradictions and always suspicious that things aren’t always what they seem. You must be brave and audacious, and tolerate ridicule. And most of all, you must be brave enough to provide the spark that bridges the gap between limitations and possibilities, knowing that there’s a great deal to human beings, so a great deal can be made out of them. They don’t have to stay the way they are now and we don’t have to see them only as they are now, but also, as they might become.

I’ve ruined things for you,” I said, eyes hot and tears threatening to fall. “I fucked up and now you’ll end up with a record. You’ll never have your dream because of me. I’m so sorry.” Wrapping me in his strong arms, Nick sighed. “I punched him and made the first move. It’s not your fault.” “You had to punch him. He was calling me names and you’re my man.” Nick smiled down at me. “Yeah, I couldn’t let him trash my girl.” “I should have just ignored him or been polite.” “I love you enough to know ignoring him and doing the polite shit was never happening. It’s not your way and I don’t want you to pretend. Maybe other people need that from you, but I love all of you even the crazy temperamental parts.” “I ruined your dream though.” “I’ll get a new dream.” My heart broke at how easily Nick accepted his lost dream. “You wanted that one so bad.” “I want you more.” “Maybe we can run. I have money. Let’s run and hide. You’re giving up your dream. I can give up my home, so we’ll be even.” Nick grinned then looked behind me. “This is my home now too and I’m not giving it up.” Turning to follow Nick’s gaze, I saw my parents approaching. Pop tossed his cigarette on the ground then laughed. “I always figured Sawyer would be the one to attack a cop,” he said as Mom smiled. “He called me a bitch and Nick punched him.” “Seems fair.” “Then he was going to arrest Nick, so I had to do something.” “I can see that,” Pop said, hugging me. “Did he rough you two up?” “No. Well, his face might have hurt Nick’s fist.” “I’m fine,” Nick said, giving me an amused look. “Pop,” I mumbled, panicking despite attempts to find the situation funny. “Dickhead is going to ruin Nick’s future as a teacher. You have to do something.” My pop grinned at Mom then shook his head. “All this drama is Coop’s problem now. I’m retired.” Frowning, I wanted Pop to wave his hand and fix things like he normally did. Instead, he expected me and my brothers to behave like adults. Had he never met us? “It’ll be fine,” Nick said, lacing his finger in the loop of my shorts and tugging back against him. “Darling can file charges if he wants, but he’ll put a target on himself too. It’s his choice.” My dad smiled and nodded while Mom threw a ball at the dogs. “Nick ain’t wrong. Dickhead might have a big mouth and show off, but he knows his place. He went to school with your brothers and understands what happens when the family feels threatened.” “Okay,” I said, still worried. “I can’t believe I lost my temper like that.” Mom and Pop laughed first then Nick started up. I just rolled my eyes.

In the course of your life you will be continually encountering fools. There are simply too many to avoid. We can classify people as fools by the following rubric: when it comes to practical life, what should matter is getting long-term results, and getting the work done in as efficient and creative a manner as possible. That should be the supreme value that guides people’s actions. But fools carry with them a different scale of values. They place more importance on short-term matters—grabbing immediate money, getting attention from the public or media, and looking good. They are ruled by their ego and insecurities. They tend to enjoy drama and political intrigue for their own sake. When they criticize, they always emphasize matters that are irrelevant to the overall picture or argument. They are more interested in their career and position than in the truth. You can distinguish them by how little they get done, or by how hard they make it for others to get results. They lack a certain common sense, getting worked up about things that are not really important while ignoring problems that will spell doom in the long term. The

We spent twenty days and endured three thousand miles of jolting, pounding, off-road bush driving. But we had a hard-won sense of accomplishment when we pulled up on the stunning cliff-side view of the Great Australian Bight, a huge open bay carved out of the southern coastline. We had made it. Below us, three hundred feet down a sheer rock face, was the Southern Ocean. A pod of southern right whales passed by, their calves following along with them. Steve and I and the crew watched the family dramas of the whales play out below us. A calf felt naughty and went darting away from his mother’s side. Come back, the mother called, come back, come back, you naughty little whale. When she was under the water, we couldn’t hear anything, but as she surfaced we could actually hear the whale song from our perch three hundred feet in the air. Mama scolded the calf, and we saw the young whale come dutifully shooting back over to follow his mother for a while. Sometimes the calf would approach his mama for a drink of milk and nurse for a few minutes. Then he would escape once more, and the whole scenario played itself out all over again. We watched the whales for hours. That night around the campfire, we discussed whaling, how sad and cruel and horrible it was. “If we killed cows the way we killed whales, people wouldn’t stand for it,” Steve said. “Imagine if you drove a truck with a torpedo gun off the back. When you saw a cow you fired at it, and then you either electrocuted it over the course of half an hour or the head of the torpedo blew up inside of it, rendering it unable to walk or move until it finally bled to death.” “We’ve got to get that message out,” I said to Steve. But his idea was to bring the beauty and joy of the whales to people, so that they would naturally fall in love with them and not want to hurt them. He didn’t want to dwell on images that would make people sad and upset. Steve remained thoughtful and silent as the fire died. The ocean sounded against the cliffs below. The games of the whale families played over and over in our minds. In spite of our extensive searching, we never saw a live dingo down the whole line of our journey. It was time to try a different approach. The next morning the helicopter pilot arrived early. Going up with him, Steve actually finally spotted some dingoes from the air. The beautiful, ginger-colored dogs played along the fence, jumping over it or skirting under it with effortless ease.

The same choice isn’t best for everyone, even in seemingly identical situations. That’s why following someone else’s advice is so risky. If that person shares your most important values – or knows you well enough to understand where you differ – the advice may fit you perfectly. But if not, you risk living your life according to someone else’s standards. This is a recipe for misery.

When you are praying for guidance, first you need to reduce any pressure. Pressure nearly always gets in the way of hearing from God. Drama never helps; stress never helps. Give it some breathing room. Take a deep breath yourself. Second, be open to whatever it may be that God has to say to you. If you are, in truth, only open to hearing one answer from God, then it’s not likely you will hear anything at all. More sadly, if you do hear a “yes,” you won’t trust it. Surrender is the key. Yield your desires and plans to the living God, so that you’ll receive his counsel. Consecrate the matter and process of decision making! Third, don’t fill in the blanks! Do not spend half your energy trying to figure it out while you are giving the other half to seeking God. Far better to live with the uncertainty for a while than to be your own counselor. Finally, give it some time. If you feel you are receiving counsel, guidance, and direction from the Holy Spirit, then ask for confirmation. Confirmation will give you a settled assurance that you are in fact following God’s will.

It never ceases to amaze me the precious time we spend chasing the squirrels around our brains, playing out our dramas, worrying about unwanted facial hair, seeking adoration, justifying our actions, complaining about slow Internet connections, dissecting the lives of idiots, when we are sitting in the middle of a full-blown miracle that is happening right here, right now. We’re on a planet that somehow knows how to rotate on its axis and follow a defined path while it hurtles through space! Our hearts beat! We can see! We have love, laughter, language, living rooms, computers, compassion, cars, fire, fingernails, flowers, music, medicine, mountains, muffins! We live in a limitless Universe overflowing with miracles! The fact that we aren’t stumbling around in an inconsolable state of sobbing awe is appalling. The Universe must be like, what more do I have to do to wake these bitches up? Make water, their most precious resource, rain down from the sky?

Almost every child will complain about their parents sometimes. It is natural, because when people stay together for a long time, they will start to have argument. But ignore about the unhappy time, our parents love us all the time. No matter what happen to us, they will stand by our sides. We should be grateful to them and try to understand them. 카톡☎ppt33☎ 〓 라인☎pxp32☎ 홈피는 친추로 연락주세요 Nowadays, more and more middle-aged people are suffering from insomnia, as life for the middle-aged is stressful indeed. For one thing, as they are the backbones of their companies, they have plenty of things to do at work. And they usually have to work overtime. For another, they have to take great responsibilities at home, for their aged parents need to be supported and their little children need to be brought up. That's why they don't have enough time to have a good rest. 비맥스판매,비맥스파는곳,비맥스구입방법,비맥스구매방법,비맥스구입사이트,비맥스구매사이트,비맥스판매사이트,비맥스후기 I have a dream. When I grow up, I want to be an actor. Being an actor can play many roles and experience different lifestyles. It is so cool. What’s more, I can make a lot of money and then travel around the world. I have passion in performance and have joined many dramas. I hope someday I can realize my dream. Innovation distinguishes between a leader and a follower. Your time is limited, so don't waste it living someone else's life. Design is not just what it looks like and feels like. Design is how it works. We're here to put a dent in the universe. Otherwise why else even be here? The only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle.

For instance, if you keep taking on others’ feelings, inserting a 1 into your emotional boundary will help you put yourself first. Following are some of the meanings of the numbers 1 through 10, plus some powerful numbers above 10: 1:​Initiates and begins; invokes the Creator; brings your needs to a conclusion and puts yourself first. 2:​Represents pairing and duality; balances relationships; creates healthy liaisons; shares power. 3:​Reflects optimism; the number of creation, it brings a beginning and an end together; ends chaos. 4:​Signifies foundation and stability; provides grounding; achieves balance. 5:​Promotes and progresses; creates a space for decision-making; provides the ability to go in any direction at will. 6:​The number of service; indicates the presence of light and dark, good and evil, and the choices made between these. 7:​Represents the divine principle; opens us for love and grace, erasing doubts about the divine path. 8:​The symbol of power and infinity; establishes recurring patterns and illuminates karma; can be used to erase old and entrenched patterns or syndromes. 9:​Represents change and harmony; eliminates the old and opens us to a new cycle; can erase evil. 10:​Signifies building and starting over. The number of physical matter, it can create heaven on earth. 11:​Represents inspiration; releases personal mythology; opens us to divine powers; erases self-esteem issues. 12:​Signifies mastery over human drama; accesses own divine self, but still encompasses humanity; excellent for forgiveness. 22:​For success in anything you do. 33:​For teaching and accepting our own wisdom; invokes bravery and discipline.

One of the crucial documents for the Ordine dei Medici, it turned out, was an Italian passport. Until then nobody had bothered to mention this potentially insurmountable obstacle. It happened I did have a right to citizenship, but since it would be bestowed on me automatically by my Italian husband (Italian husbands are less powerful nowadays), the passport logically hung on Italian recognition of our American marriage, which was in turn predicated on Italian recognition of my husband’s American divorce from a prior marriage. The divorce certification, based on various Byzantine legal fictions, was a long time coming. One time there was a false sighting of his Italian divorce, and I optimistically went down to the Anagrafe or Central Registry to see whether I could get my citizenship papers. At the end of the forty-five-minute line a small man with slicked-down hair took my documents with a yawn and disappeared into the dark forest of files. When the clerk emerged, the bored look was gone from his face. He invited me to follow him along the long bank of teller windows, he on his side me on mine, and then pass through a little gate to the employee side. He sat me down, then paced between piled-up dossiers for a minute, no grille window to screen him off, before speaking. “Ms. Levenstein,” he said kindly, “You have applied for Italian citizenship on the grounds of being married to a certain Andrea Di Vecchia.” I admitted that was true. He paced a little more, lit a cigarette. “Ms. Levenstein,” he said again, even more gently, and I should have caught on from the way he repeated it. “I must tell you something. This Mr. Di Vecchia—he is already married to another woman!” His hand was already out to give a comforting squeeze to my shoulder, but it dropped when I laughed and explained that the problem was red tape, not bigamy. I thought later, high drama must be rare behind the certificate window, and he had risen to its call. How many American file clerks would have been so ready for their unexpected moment of glory? Another problem involved my residence papers, a crucial component in any pile of documents. All residents in Italy must communicate changes of address to the State within three months, and when we left my mother-in-law’s for our own place eight months earlier we had duly registered the move. But when I went to pick up an identity document I was told it couldn’t be issued because I was still listed at my old address. I slyly told the clerk in the cage to hold on, scurried over from his Identity Card window to the Certificate window three paces away, had the printer spit out a Residence Certificate bearing my name and the new address, and carried it back in triumph. He wasn’t impressed. “Oh, that certificate. That’s from the computer, it’s not worth anything. Your address has been changed in the computer, but the computerized part of the system doesn’t count.

Once the warm jacket was on me, he moved to my side, slipping an arm possessively around my lower back, an action that certainly did not slip past Rich. "Seriously?" he asked, looking a mix of hurt and almost... disgusted? "This is a thing..." he half-asked, half-declared, waving a hand at us. "It's a thing," Brant said with a nod. "You fucked up and lost a good thing. I saw that good thing and scooped it up. And I'm not fucking it up. And you're not getting between. So I think that is all that needs to be said here." Rich's head jerked back like Brant had struck him, but his jaw got tight and his chin lifted. "Knew you were a lot of things, Maddy," he said and I knew whatever was going to follow was out of hurt- hurt heart, hurt pride, but I honestly didn't think he had it in him to be so nasty. "But I didn't think you were a slut." With that, he walked away, leaving me literally with my mouth hanging open. "Five years with you and 'slut' is the best he could come up with?" Brant asked, shaking his head. Then his gaze moved to me, his fingers snagged my chin and tilted it up so he could catch my eyes. "You're not a slut, Maddy," he said, voice firm, brooking no room for argument. "I mean, I'm all for you getting slutty with me, but that doesn't mean you're a slut. He's just being a dick because you bruised his ego." I knew that. And I knew I wasn't a slut. Far from. It was just startling hearing that accusation come from the lips of someone you thought you knew. I gave Brant a slow and saucy smile, eyes going a little wicked. "Well, now that the drama is out of the way...I have an idea of how we can get good and slutty together later." "Oh yeah?" he asked, smirking. "Yeah, it involves pineapples." And later, after we finished work, it did.

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.

That’s one of the key challenges of remote work: keeping everyone’s outlook healthy and happy. That task is insurmountable if you’ve stacked your team with personalities who tend to let their inner asshole loose every now and again. Even for people with the best intentions, relations can go astray if the work gets stressful (and what work doesn’t occasionally?). The best ballast you can have is as many folks in your boat as possible with a thoroughly optimistic outlook. We’re talking about people who go out of their way to make sure everyone is having a good time. Remember: sentiments are infectious, whether good or bad. That’s also why it’s as important to continuously monitor the work atmosphere as to hire for it. It’s never a good idea to let poisonous people stick around to spoil it for everyone else, but in a remote-work setup it’s deadly. When you’re a manager and your employees are far flung, it’s impossible to see the dread in their eyes, and that can be fatal. With respect to drama, it therefore makes sense to follow the “No Broken Windows” theory of enforcement. What are we talking about? Well, in the same way that New York cracked down in the ’90s on even innocuous offenses like throwing rocks through windows or jumping the turnstile, a manager of remote workers needs to make an example of even the small stuff—things like snippy comments or passive-aggressive responses. While this responsibility naturally falls to those in charge, it works even better if policed by everyone in the company.

Liberal politics is based on the idea that the voters know best, and there is no need for Big Brother to tell us what is good for us. Liberal economics is based on the idea that the customer is always right. Liberal art declares that beauty is in the eye of the beholder. Students in liberal schools and universities are taught to think for themselves. Commercials urge us to ‘Just do it.’ Action films, stage dramas, soap operas, novels and catchy pop songs indoctrinate us constantly: ‘Be true to yourself’, ‘Listen to yourself’, ‘Follow your heart’. Jean-Jacques Rousseau stated this view most classically: ‘What I feel to be good – is good. What I feel to be bad – is bad.’ People who have been raised from infancy on a diet of such slogans are prone to believe that happiness is a subjective feeling and that each individual best knows whether she is happy or miserable. Yet this view is unique to liberalism. Most religions and ideologies throughout history stated that there are objective yardsticks for goodness and beauty, and for how things ought to be. They were suspicious of the feelings and preferences of the ordinary person. At the entrance of the temple of Apollo at Delphi, pilgrims were greeted by the inscription: ‘Know thyself!’ The implication was that the average person is ignorant of his true self, and is therefore likely to be ignorant of true happiness. Freud would probably concur.fn1 And so would Christian theologians. St Paul and St Augustine knew perfectly well that if you asked people about it, most of them would prefer to have sex than pray to God. Does that prove that having sex is the key to happiness? Not according to Paul and Augustine. It proves only that humankind is sinful by nature, and that people are easily seduced by Satan. From a Christian viewpoint, the vast majority of people are in more or less the same situation as heroin addicts. Imagine that a psychologist embarks on a study of happiness among drug users. He polls them and finds that they declare, every single one of them, that they are only happy when they shoot up. Would the psychologist publish a paper declaring that heroin is the key to happiness? The idea that feelings are not to be trusted is not restricted to Christianity. At least when it comes to the value of feelings, even Darwin and Dawkins might find common ground with St Paul and St Augustine. According to the selfish gene theory, natural selection makes people, like other organisms, choose what is good for the reproduction of their genes, even if it is bad for them as individuals. Most males spend their lives toiling, worrying, competing and fighting, instead of enjoying peaceful bliss, because their DNA manipulates them for its own selfish aims. Like Satan, DNA uses fleeting pleasures to tempt people and place them in its power.

Oh, really,” I said, pushing myself to my feet. “I thought it was because you couldn’t get rid of me.” “Well, that, too,” she said with an impish grin. She groaned as she scrambled to her feet. “One thing’s clear at least. I’m going to have to go a little easier on all those refreshments at the balls and afternoon teas and soirees. I think they’re starting to take their toll.” “Very true,” I said, my face serious. “I’d been meaning to say something…” She shot me a worried look, and I couldn’t help grinning. “But I figured you’d notice yourself seeing as how you’ve started having to turn sideways to fit through doors.” She took a swipe at me, but I stepped deftly out of her way. “See?” I said, still smiling. “You’re getting slow, too.” She rolled her eyes, and I ducked in close enough to whisper in her ear. “You wouldn’t want to risk looking less than perfect for Miles now, would you?” She exclaimed in outrage and tried once again to catch me. I escaped her easily, and she proceeded to chase me around the fountains, much to the amusement of the children who followed behind us, shrieking encouragement to one or the other of us. I eluded her for several minutes, ducking behind fountains and jumping over benches, purely for the entertainment of our audience. She entered into the drama with equal enthusiasm, pretending to be slower than she really was. When I eventually let her catch me, we both collapsed onto a bench, laughing. “Don’t think I didn’t notice the blush,” I whispered, too quietly for the children to hear. “I hope you’re not forgetting who Miles is.” I shot her a warning look, and she met my eyes, her own full of guilt. But Ava approached us before she could reply. “If you two are quite finished, we should probably get back to the castle now.” I jumped to my feet, but she was smiling so I relaxed. “As you command, Your Majesty,” I said, bowing low. The children laughed again, and Ava shook her head at me. We were all still smiling when we left the square. None of us were really in a hurry to get back, so we walked, leading the horses behind us. Ava and Sarah were talking idly about the court when a voice called to Ava from across the street. I turned around and sucked in a sharp breath. It was Anhalt, one arm raised in greeting and a broad smile on his face. I had just enough time to whisper his name to Ava and Sarah before he had crossed over to join us. I was careful to keep my face free of all emotion as Sarah and I dropped back to walk respectfully behind Ava and the count. Anhalt seemed delighted with our chance encounter and determined to make the most of his unexpected audience with the queen. I watched the surrounding streets with my usual vigilance while I wondered if his voice really sounded so oily, or if it was my own feelings painting my perception of them. Sarah was listening intently to their conversation, her eyes never leaving the count’s form. I knew she would be paying attention for any clues, so I stopped listening myself, devoting my full attention to watching for any threat to the queen. I wasn’t sure if it was this extra attentiveness or just a heightened sense of alert due to the count’s presence, but I noticed an odd flicker of movement as we passed a small side alley. It was barely more than a shifting of shadow, and I could easily have missed it. Instead I tensed, my hand flying to my sword hilt. In one step, I placed myself between Ava and the alley. She turned to look at me, surprised out of her conversation by my sudden movement. I spoke to her but kept my eyes trained on the shadows. “It might be nothing, but I think it would be a good idea if we moved a bit faster, Your Majesty.

A part war drama, part coming-of-age story, part spiritual pilgrimage, Surviving Hitler, Evading Stalin is the story of a young woman who experienced more hardships before graduating high school than most people do in a lifetime. Yet her heartaches are only half the story; the other half is a story of resilience, of leaving her lifelong home in Germany to find a new home, a new life, and a new love in America. Mildred Schindler Janzen has given us a time capsule of World War II and the years following it, filled with pristinely preserved memories of a bygone era. Ken Gire New York Times bestselling author of All the Gallant Men The memoir of Mildred Schindler Janzen will inform and inspire all who read it. This is a work that pays tribute to the power and resiliency of the human spirit to endure, survive, and overcome in pursuit of the freedom and liberty that all too many take for granted. Kirk Ford, Jr., Professor Emeritus, History Mississippi College Author of OSS and the Yugoslav Resistance, 1943-1945 A compelling first-person account of life in Germany during the rise of Adolph Hitler and the Nazi Party. A well written, true story of a young woman overcoming the odds and rising above the tragedies of loss of family and friends during a savage and brutal war, culminating in her triumph in life through sheer determination and will. A life lesson for us all. Col. Frank Janotta (Retired), Mississippi Army National Guard Mildred Schindler Janzen’s touching memoir is a testimony to God’s power to deliver us from the worst evil that men can devise. The vivid details of Janzen’s amazing life have been lovingly mined and beautifully wrought by Sherye Green into a tender story of love, gratitude, and immeasurable hope. Janzen’s rich, post-war life in Kansas serves as a powerful reminder of the great promise of America. Troy Matthew Carnes, Author of Rasputin’s Legacy and Dudgeons and Daggers World War II was horrific, and we must never forget. Surviving Hitler, Evading Stalin is a must-read that sheds light on the pain the Nazis and then the Russians inflicted on the German Jews and the German people. Mildred Schindler Janzen’s story, of how she and her mother and brother survived the war and of the special document that allowed Mildred to come to America, is compelling. Mildred’s faith sustained her during the war's horrors and being away from her family, as her faith still sustains her today. Surviving Hitler, Evading Stalin is a book worth buying for your library, so we never forget. Cynthia Akagi, Ph.D. Northcentral University I wish all in the world could read Mildred’s story about this loving steel magnolia of a woman who survived life under Hitler’s reign. Mildred never gave up, but with each suffering, grew stronger in God’s strength and eternal hope. Beautifully written, this life story will captivate, encourage, and empower its readers to stretch themselves in life, in love, and with God, regardless of their circumstances. I will certainly recommend this book. Renae Brame, Author of Daily Devotions with Our Beloved, God’s Peaceful Waters Flow, and Snow and the Eternal Hope How utterly inspiring to read the life story of a woman whose every season reflects God’s safe protection and unfailing love. When young Mildred Schindler escaped Nazi Germany, only to have her father taken by Russians and her mother and brother hidden behind Eastern Europe’s Iron Curtain, she courageously found a new life in America. Surviving Hitler, Evading Stalin is her personal witness to God’s guidance and provision at every step of that perilous journey. How refreshing to view a full life from beginning to remarkable end – always validating that nothing is impossible with God. Read this book and you will discover the author’s secret to life: “My story is a declaration that choosing joy and thankfulness over bitterness and anger, even amid difficult circumsta

Given the obvious “will to power” (as Friedrich Nietzsche called it) of the human race, the enormous energy put into its expression, the early emergence of hierarchies among children, and the childlike devastation of grown men who tumble from the top, I’m puzzled by the taboo with which our society surrounds this issue. Most psychology textbooks do not even mention power and dominance, except in relation to abusive relationships. Everyone seems in denial. In one study on the power motive, corporate managers were asked about their relationship with power. They did acknowledge the existence of a lust for power, but never applied it to themselves. They rather enjoyed responsibility, prestige, and authority. The power grabbers were other men. Political candidates are equally reluctant. They sell themselves as public servants, only in it to fix the economy or improve education. Have you ever heard a candidate admit he wants power? Obviously, the word “servant” is doublespeak: does anyone believe that it’s only for our sake that they join the mudslinging of modern democracy? Do the candidates themselves believe this? What an unusual sacrifice that would be. It’s refreshing to work with chimpanzees: they are the honest politicians we all long for. When political philosopher Thomas Hobbes postulated an insuppressible power drive, he was right on target for both humans and apes. Observing how blatantly chimpanzees jockey for position, one will look in vain for ulterior motives and expedient promises. I was not prepared for this when, as a young student, I began to follow the dramas among the Arnhem chimpanzees from an observation window overlooking their island. In those days, students were supposed to be antiestablishment, and my shoulder-long hair proved it. We considered power evil and ambition ridiculous. Yet my observations of the apes forced me to open my mind to seeing power relations not as something bad but as something ingrained. Perhaps inequality was not to be dismissed as simply the product of capitalism. It seemed to go deeper than that. Nowadays, this may seem banal, but in the 1970s human behavior was seen as totally flexible: not natural but cultural. If we really wanted to, people believed, we could rid ourselves of archaic tendencies like sexual jealousy, gender roles, material ownership, and, yes, the desire to dominate. Unaware of this revolutionary call, my chimpanzees demonstrated the same archaic tendencies, but without a trace of cognitive dissonance. They were jealous, sexist, and possessive, plain and simple. I didn’t know then that I’d be working with them for the rest of my life or that I would never again have the luxury of sitting on a wooden stool and watching them for thousands of hours. It was the most revelatory time of my life. I became so engrossed that I began trying to imagine what made my apes decide on this or that action. I started dreaming of them at night and, most significant, I started seeing the people around me in a different light.

One cannot find out what goes on in a mountainous game range by staying on roads and trails. If one really wants to learn a new mountain country in detail, he should spend some time following a pack of dogs on the trail of bears, lions, and bobcats. They will show it to you. They will show you country which you would otherwise never see. They will take you to the scenes of the dramas of the forest are enacted day by day. Thy will reveal to you the records of many a tragedy in the life-struggle of the denizens of the mountains.

Dear Brace Face, Did I get your name right? Or was it Zipper Mouth? Maybe it was STUMP GRINDER! Sorry, sweetie. I’m so forgetful sometimes! Anyway, having braces isn’t all that bad. Let’s look at the pros and cons, shall we? PROS: #1: You can get a job at the Olive Garden restaurant grating cheese with your teeth! #2: Your mouth also multitasks as a paper shredder and chain saw! #3: With all the food you’re going to have stuck in your braces, you’ll have yourself a portable, FREE all-you-can-eat buffet! CONS: #1: People will follow you around to get a better cell phone signal. #2: A boyfriend with braces could become the kiss of death, literally. If your braces lock up during a smooch, you’ll both have to go to the orthodontist together to get it surgically terminated! #3: On a very clear day, you can pick up interstellar signals from ALIENS on Mars! Wait a second!! ALL of those sound like CONS, don’t they? Oh well! Too bad for you! Thank goodness I’ve ALWAYS had perfectly straight pearly whites! YAY ME !! —Miss Know-It-All

It never ceases to amaze me the precious time we spend chasing the squirrels around our brains, playing out our dramas, worrying about unwanted facial hair, seeking adoration, justifying our actions, complaining about slow Internet connections, dissecting the lives of idiots, when we are sitting in the middle of a full-blown miracle that is happening right here, right now. We’re on a planet that somehow knows how to rotate on its axis and follow a defined path while it hurtles through space! Our hearts beat! We can see! We have love, laughter, language, living rooms, computers, compassion, cars, fire, fingernails, flowers, music, medicine, mountains, muffins! We live in a limitless Universe overflowing with miracles!

The Golem, The Monster was in love with herself; the Goy was in love with her too. She was in love with Club Golan. A perfect storm was approaching and I could almost feel it. I didn't know what was wrong with my beautiful girlfriend as her face gradually began to look like a monster's and she started treating me like garbage. What was controlling her mind? Who was behind her, making her get so sick again so quickly after meeting some new people at the beach bar? Why did Sabrina say that I would die lonely and sad, and why was Martina's perception of me so wrong and unreal? How was their plan on track, I didn't understand while I was running after Martina and I couldn't understand where our happiness had slipped out of our hands again? I was desperately trying to figure out what had happened to my life, my career, and what had happened to my pretty girlfriend, what had happened to my baby? It was almost like my girlfriend's perceptions were all wrong somehow. She had seen me as a useless homeless bum and she had seen the only value or service in Europe and Barcelona which could make a living or money as, 'short shorts and loose legs'. I felt hopeless and I didn't understand what the spell was. How was my 'Stupid Bunny' a Frankenstein? I could feel it on my skin, and I could see it in Martina's eyes, that the criminals' plans were in play and had been working since the moment Adam arrived in Spain, or maybe even before that somehow. Before I even met Martina. Before we even broke all up with Sabrina. Before the Red Moon, the last date and before the provocation the following night. I felt like 10-20 criminals were trying to bully me and trying to woo Martina and outsmart me with her, but I was so worried for her and was so busy trying to save her every day with her on my mind, as if I too was under spells, under possession and couldn't do anything about it to help her or break the illusions keeping her possessed, even when supposedly she was, we were, rid of the bad people. I felt like I was in a screenplay in the set up stages of a drama. I felt like someone had sat down with a piece of paper and a pen, and was drawing plans against my life. I felt like someone had written a screenplay on how to play this out, how to take the club from me and Martina. Someone must have written a list of characters. Casting. I never called Sabrina a bitch. Adam and Martina both called her “bitch.” Martina said “The Bitch” and Adam said “that Crazy Bitch.” ’The Goy’ ’The Bitch’ ’The Gipsy’ ’The Giants’ ’The Golem’ ’The Lawyer’ ’The Big Boss’ ’My Girlfriend’ ’The False Flag’ ’The Big Brother’ ’The Stupid Bunny’ ’The Big Boss Daddy’ ’The Italian Connection’, etc. I was unable to break any illusion, the secret, the code; I was dumbstruck in love with “my girlfriend” (who I thought was my “stupid bunny”), being the ‘false flag’, and maybe it was actually “the bitch” portrayed by Sabrina who was my true love perhaps, putting me to the tests, with Adam and the rest, using Martina and her brother, playing with strings, with her long pretty fingernails, teaching me a lesson for cheating when I thought she was cheating too and making me unhappy when I thought she was unhappy with me. As if I knew, Sabrina had been behind my new girlfriend, Martina playing roles; I had seen all the signs and jokes. I just couldn't comprehend it having a cover over my eyes. I was unsure what should I do what would be real wise? I didn't think Sabrina would be capable of hurting me at all. Why did Martina keep saying, Tomas you are so nice and tall?

Of course, I’d known before then. But that night, clutching yet another beer bottle, watching Christian move on the dance floor, I verbalized the subtle knowledge in my mind. I loved him. Shamefully and hopelessly. I tried to talk myself out of it. It’s not like there is a definition. They can’t take your blood sample, run a test and give you the results. It’s all vague, subjective, prone to manipulation, hypochondria. You wake up one day thinking you’re in love with someone and the following week, you’re not. All that drama, the cultural pressure. The epitome of so-called happiness sold to us by the media. They say it can last a year, the honeymoon phase. Two at best. In love… It was just a chemical process, imagination, internalization of recycled clichés, and a hefty dose of delusion. But it didn’t hurt any less. I wanted him, craved him, couldn’t bear anyone else to touch him just as I needed him to be content and sheltered—yes, even if it meant he’d be with someone else. Happy and safe. He was the single, most important being in the whole universe. If Christian was hopeful and joyous as ever, my life had a purpose, the world had a meaning.

So in reality there was just one functioning channel, which came on at around 5 p.m., shutting down at 11 p.m. At seven o’clock, there was a news program for twenty-five minutes, almost exclusively about Kim Jong-il. There was no live film, just old photographs of him visiting factories, and the newscaster would read, verbatim, whatever he had supposedly said on those occasions. Next there was a thirty-minute music program, in which the lyrics scrolled across the screen karaoke style. The songs had titles like “Defend the Headquarters of Revolution,” which described the North Korean people as “bombs and bullets.” Then there was a slot for a drama or film, followed by another news program on the more recent movements of Kim Jong-il. This was the news that my students had mentioned watching each night. There were, of course, no commercials, but the news was sometimes interrupted by Kim Jong-il quotations that filled the screen.

AS A MASTER OF SELF, when I look into the eyes of another individual I see another Authentic Self, a beautiful expression of the Divine. No matter where this person is in the process of awakening, I respect that his or her intent is just as powerful as mine, and doing so is an act of unconditional love. If I were to try to control this person, I would be lost in the fog and place conditions on my love and acceptance of him or her. If you see the world through the eyes of conditional love, you are by definition attempting to control others, imposing your will so that they conform to the definition of who and what you think they should be. If they don't agree to your demands, they will receive the punishment of your judgment. This is conditional love in a nutshell. But remember, every time you judge someone you are punishing that person for not following agreements they never made. As you look back over your life, you can see that many of the relationship battles you thought were for your own personal freedom were really battles of who was going to domesticate whom. And every time you experienced a moment of anger, outrage, indignation, or any other negative emotion as the result of someone else's behavior, you created a dream of villains and victims, and you were once again caught in the drama of the party. Perceiving yourself as a victim and another as a villain doesn't allow you to see the person who is actually standing before you: you don't see their story, their past, their heartbreaks, and how all of that has impacted their life and contributed to forming the person you're talking to. All you can see through the fog of domestication is that the person you have cast as the villain in your story isn't living up to the values you think they should. But when you see another with the eyes of unconditional love, you are then able to clearly see who is actually in front of you, a living being who is trying to survive and thrive in a world filled with domestication and conditional love. Unconditional love allows you to disagree with the choices or beliefs of others while still respecting their right to have them. Practicing unconditional love is the art of the Master of Self. Once you have recognized, released, and forgiven the self-judgments that have arisen from your own domestication, you can then recognize and forgive others when they act from their domestication. The person in front of you has been domesticated, and now they want to pass that on to you because it's all they know. However, they can only subjugate you with your permission.

In the example of the boy and his grandmother, the boy was domesticated to the idea that he must finish all his food, even though that idea wasn't true for him. And as an adult, he adhered to the idea that he should finish his food even if his body is indicating something to the contrary. As a result, he is now also attached to that idea. The difference to understand is this: attachment doesn't always come from domestication, but domestication left unchecked always leads to attachment. Here's what the evolution from domestication to attachment looks like: 1. Domestication. You are domesticated to an idea through interaction with others in the Dream of the Planet. (A grandmother domesticates her grandson to the idea that it's a sin not to finish all the food on his plate.) 2. Self-domestication. Once this idea is lodged inside you and accepted, it becomes a belief. You no longer need an outside domesticator to enforce this idea; you will do it yourself. This is self-domestication in action. (The grandson grows up and habitually finishes all the food on his plate even when he isn't hungry.) 3. Attachment. You are now attached to this belief, and depending on how strong your attachment is, your acceptance of yourself and others is contingent upon fulfillment of the belief. (The grandson feels guilty if he doesn't finish the food on his plate; he admonishes his friends for not finishing their food, and he domesticates his children to the same idea.) As you can see, attachments can often arise from domestication. The irony is that when this happens, you become attached to an idea that you didn't even agree with initially but only adopted because of domestication. The end result is that without awareness, you will adhere to ideas that aren't even true for you (as well as push them on others)! Domestication and attachment work hand in hand to keep you separated from your Authentic Self, lost in the fog and smoke, trapped in the drama of the party. This cycle (domestication, self-domestication, attachment) can continue for generations until you transform into a Master of Self and break the chain. The following exercises will help you begin to identify your own domestications and attachments. Once you have recognized them, you can then decide if you are ready to let them go or not. Noticing Your Domestications Take a moment to look back over your life. What are some ideas that were instilled in you as a child that you later discarded as no longer true for you? These could be ideas about education and career, money and material possessions, politics, religion, or any number of other areas. Remember, the point here isn't to judge or become resentful of those who initially domesticated you to those ideas, but rather to see where domestication occurred and how you broke free. By noticing where you have already spotted and released domestication in your life, you prove to yourself that you have all the power you need inside you to break free again and again.

Notice what we’re acknowledging here. No-Drama Discipline can’t ensure that your kids will act the way you’d like every time you address their behavior. The Whole-Brain approach definitely gives you a much better chance of achieving the short-term goal of encouraging cooperation from your children. It also helps remove or at least reduce the most explosive emotions in the situation, deescalating the drama and thus avoiding the harm and hurt that result when a parent yells or personalizes the issue. But it won’t always be effective at getting the exact behavior you hope for. Kids are human beings, after all, who have their own emotions, desires, and agendas; they’re not computers we program to do what we want. But at the very least, as we’re sure you’ll agree after you read the following chapters, No-Drama Discipline gives you a much better chance of communicating with your children in ways that feel better to both of you, build trust and respect between you, and decrease the drama in most discipline situations. What’s

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.

scared. Like the doorman where she lived still not admitting to anyone else he was gay. Like the aunt who was conducting a secret pen friend affair with a lifer in prison. Mum used to say Alex had been born with the face of someone who’d signed a confidentiality agreement. Secrets were often seen as dark and deceptive, but sometimes they were simply sad truths that people tried to hide. Perhaps that had been the problem with her third book – readers had worked out that, secretly, her heart wasn’t in it. Her husband’s cheating was one factor that had pushed her to become an author, to forge an independent, successful existence. During the first year or two that followed, the series of her young lovers, a binge of light-hearted romance, had translated into two huge best-sellers, leaving readers clamouring for more of her heart-breaking heroes and arousing paragraphs. Trouble was, that binge eventually left Alex so sated that by the time she came to write the third novel, simply the word ‘romance’ turned her stomach. ‘Mum had been Dad’s life for so long, the two of them were each other’s school sweetheart, so the coffee shop became his life instead,’ Tom continued. ‘My mates loved this place. We’d pile in after school for Coke floats and they’d pester their parents to visit at the weekend. Slowly, by word of mouth, its fried breakfasts gained a reputation. Benedict Cumberbatch came in once when he studied drama at the university. We even served the

Paul suffered and struggled mightily in the service of his faith. Perhaps you could argue that he simply wasn’t the best example after which to model our own behavior. What if we look at the ultimate example of a Christian teacher and expositor, Christ Himself? Surely then we’ll see how to handle this unappealing message of a crucified Savior whom only the dregs of society preached. Surely at last we’ll see a glimmer of success. But by worldly standards, when Jesus began preaching His own gospel in His own hometown, He was an even more spectacular failure than Paul! This episode in Jesus’ life is one of the most gripping and powerful portions of the Bible. His words in Scripture capture the shock and emotion of the moment, and they still stun us with their power and their force. The riveting drama begins in Luke 4, verses 16 through 21: So He came to Nazareth, where He had been brought up. And as His custom was, He went into the synagogue on the Sabbath day, and stood up to read. And He was handed the book of the prophet Isaiah. And when He had opened the book, He found the place where it was written: “The Spirit of the LORD is upon Me, Because He anointed Me To preach the gospel to the poor; He has sent Me to heal the brokenhearted, To proclaim liberty to the captives And recovery of sight to the blind, To set at liberty those who are oppressed; To proclaim the acceptable year of the LORD.” Then He closed the book, and gave it back to the attendant and sat down. And the eyes of all who were in the synagogue were fixed on Him. And He began to say to them, “Today this Scripture is fulfilled in your hearing.” Imagine going to church next Sunday, expecting to hear your pastor preaching, and having the Lord Jesus Christ appear in person to tell you that He had come to fulfill all the prophecies of His second coming—all the prophecies of the glory of His kingdom of salvation on earth! Imagine that you had gone that morning, and Jesus was standing in the pulpit to tell you that the time was now for the fulfillment of all divine promises connected to His return. Well, that’s something like what the Jews in the Nazareth synagogue experienced that day. They had attended that synagogue all their lives, and they had heard reading after reading of the Torah, the Law, and the Haftarah, the prophets, and sermon after sermon on Sabbath after Sabbath throughout their lifetimes. They had heard much teaching about the Messiah, and they had been reading many Scriptures about His coming and kingdom. But all of a sudden, on this Sabbath in the year A.D. 28, in an obscure synagogue in a nothing blue-collar town called Nazareth, He was there!

It always comes to this, though not so violently. There’s only one reason why people who know the truth of the gospel are not willing to repent and believe. It is because they will not see themselves as the poor, prisoners, blind, and oppressed. It has nothing to do with the style of music your church offers, the drama and skits you stage, or the quality of your laser light show. It has everything to do with the spiritual deadness and blindness of pride. God offers nothing to people who are content with their own condition, except judgment. If you don’t think you are headed for hell, don’t think you need forgiveness, you put no value on the gospel of grace.

Once upon a time there was a child who had a golden brain. His parents only discovered this by chance when he injured his head and gold instead of blood flowed out. They then began to look after him carefully and would not let him play with other children for fear of being robbed. When the boy was grown up and wanted to go out into the world, his mother said: “We have done so much for you,we ought to be able to share your wealth.” Then her son took a large piece of gold out of his brain and gave it to his mother. He lived in great style with a friend who, however, robbed him one night and ran away. After that the man resolved to guard his secret and to go out to work, because his reserves were visibly dwindling. One day he fell in love with a beautiful girl who loved him too, but no more than the beautiful clothes he gave her so lavishly. He married her and was very happy, but after two years she died and he spent the rest of his wealth on her funeral, which had to be splendid. Once, as he was creeping through the streets,weak,poor, and unhappy, he saw a beautiful little pair of boots that would have been perfect for his wife. He forgot that she was dead- perhaps because his emptied brain no longer worked- and entered the shop to buy the boots. But in that very moment he fell, and the shopkeeper saw a dead man lying on the ground. Daudet, who was to die from an illness of the spinal cord, wrote following this story: This story sounds as though it were invented, but it is true from beginning to end. There are people who have to pay for the smallest things in life with their very substance and their spinal cord. That is a constantly recurring pain, and then when they are tired of suffering… Does not mother love belong to the ‘smallest’, but also indispensable, things in life, for which many people paradoxically have to pay by giving up their living selves?

You’re superstitious?” His rough voice echoes above our heads, so he leans in closer and says, “I didn’t really see that coming.” “I’m usually not, but I guess that got ingrained. Everyone in my circle knows not to say that inside a theater.” “Bad luck, I take it?” he asks. I nod and he observes the place one more time before following me out. “Not to be insensitive to our surroundings or anything, but I think bad luck’s already done its business here.” “Old habits…blow up in your face.” I adjust my ponytail and try to concentrate on what’s around us, but from the corner of my eyes I see Darren bite his lip. I’m not sure if he finds this new information about me endearing or insane. He follows me quietly for a few minutes before speaking again. “So theater, huh? Not sure I saw that one coming either.” “Why?” My cheeks are warm, but I keep in front of him and look anywhere but his direction. “The theater kids back at my high school were…a lot different than you.” I laugh a little louder than necessary. “There are definitely some characters in drama club. As far as style or individuality goes, I’m not much of a standout at school.” “You would have stood out to me.” “I don’t need any tall-girl jokes from you, thanks.” He shrugs. “That’s not what I meant.” Must. Look. Away. What else can I take a picture of? I point the camera to my feet and snap a few. “You’re taking pictures of your feet?” His tone is equal parts curious and amused. “Oh yeah,” I say, turning the camera on his sneakers. “I’ll call it, ‘Standing in Pompeii.’” “How original.” Great. I’ve just made myself a certifiable nutcase.

review the lists that follow to see what falls into the Fab Four categories: • Protein: 4 to 6 ounces for women; 6 to 8 ounces for men. • Fat: 2 tablespoons. • Fiber and greens: 2 to 4 cups fibrous green vegetables. • Fruit: ½ cup maximum. It’s best to have it in the morning (preferably in your Fab Four Smoothie), so your body has a chance to metabolize it in the liver and the space to store it. Snack or dessert is okay, too, but not all three. • No more than one serving of a starchy carbohydrate per meal (such as 1 tortilla or ¼ to ½ cup gluten-free grain). • Reduce dairy (such as yogurt or a hard cheese) to 1 to 2 servings per week or less.

Burns and Allen household names—Gracie’s search for her “lost brother.” Whose idea was it? In The Big Broadcast, Frank Buxton and Bill Owen credit Bob Taplinger, head of publicity at CBS. Carroll thought the idea originated with Burns. In one of his books, Burns said it came out of the agency, whose executives wanted to publicize the show’s new 9:30 timeslot. All that mattered was this: it was the most sensational thing of its time. It was launched Jan. 4, 1933. Gracie mentioned that her brother was missing, and this became the centerpiece of the broadcast. The following Sunday she appeared without notice on Eddie Cantor’s show. She was looking for her brother, she told Cantor and the nation. She popped up suddenly on Jack Benny’s program. She appeared on melodramas and soap operas. Even when she did not appear, the search for Gracie Allen’s brother was worked into dramatic skits. Burns remembered that a telephone rang on a tense drama set inside a submarine. From the surface, someone asked the captain, “Is Gracie Allen’s brother down there with you?” Department stores worked the gag into their newspaper ads, and people everywhere were telling Gracie’s-brother jokes.

I deny your deduction. It may be because we think overmuch—in our science, our profession, our jurisprudence, our intellectual composition, our political career, or whatever be the pursuit which we follow—that we are disinclined to think in a place of mere amusement, after our dinners." "It would seem, then, that the decline of the drama resolves itself into a mere question of eating." "You are very perverse," said Denzil. "What I say is,—that the mind is always so highly strained at its work in our day, that it refuses to make any additional effort in its mere relaxations. When you have been thinking all day, with little pause or peace, you do not want to think in the evening, when your mental strain is relaxed: you want light, gayety, noise, pretty pictures—something that needs no thought whatever.

There has to be another way,” Kathleen insisted. “If there were, I’d have found it.” She knew nothing of all the sleepless nights and exhausting days he’d spent searching for alternatives. There was no good solution, only a choice between several bad solutions, and this was the least harmful. Kathleen stared at him as if she’d just caught him snatching a crust of bread from an orphan. “But--” “Don’t press me on this,” Devon snapped, losing his patience. “It’s difficult enough without a display of adolescent drama.” Kathleen’s face went white. Without another word, she turned and strode from the library. West sighed and glanced at Devon. “Well done. Why bother reasoning with her when you can simply crush her into submission?” Before Devon could reply, his brother had left to follow Kathleen.

They will call you quiet because you’re perfectly happy in silence. They will call you weak because you avoid conflict and drama. They will call you obsessed for being passionate about the things you love. They will call you rude for not engaging in social pleasantries. They will call you arrogant for having self-respect. They will call you boring for not being extrovert. They will call you wrong for having different beliefs. They will call you shy when you choose not to interact in small talk. They will call you weird because you choose not to conform to societal trends. They will call you fake for trying your best to remain positive. They will call you a loner because you’re comfortable being on your own. They will call you lost for not following the same route as others. They will call you a geek for being a knowledge-seeker. They will call you ugly for not looking like celebrities. They will call you dumb for not being an academic. They will call you crazy for thinking differently from others. They will call you cheap for knowing value for money. They will call you disloyal for distancing yourself from negative people.

If you like to take an objective look at your parenting style, I suggest you take one or more of the following personality tests: Five-Factor Model (also known as the OCEAN model), Myers-Briggs Type Indicator (MBTI), and Enneagram.

So you’re saying,” I interjected, “that there is no organized, conspiratorial evil in the world, no satanic plot to which we fall prey?” “None. There is only human fear and the bizarre ways that humans try to ward it off.” “What about the many references in sacred texts and scriptures to Satan?” “This idea is a metaphor, a symbolic way of warning people to look to the divine for security, not to their sometimes tragic ego urges and habits. Blaming an outside force for everything bad was perhaps important at a certain stage in human development. But now it obscures the truth, because blaming our behavior on forces outside ourselves is a way of avoiding responsibility. And we tend to use the idea of Satan to project that some people are inherently evil so we can dehumanize the ones we disagree with and write them off. It is time now to understand the true nature of human evil in a more sophisticated way and then to deal with it.” “If there is no satanic plot,” I said, “then ‘possession’ doesn’t exist.” “That’s not so,” Wil said emphatically. “Psychological ‘possession’ does exist. But it is not the result of a conspiracy of evil; it is just energy dynamics. Fearful people want to control others. That’s why certain groups try to pull you in and convince you to follow them, and ask you to submit to their authority, or fight you if you try to leave.” “When I was first drawn into that illusory town, I thought I had been possessed by some demonic force.” “No, you were drawn in because you made the same mistake you made earlier: you didn’t just open up and listen to those souls; you gave yourself over to them, as if they automatically had all the answers, without checking to see if they were connected and motivated by love. And unlike the souls who are divinely connected, they didn’t back away from you. They just pulled you into their world, the same way some crazy group or cult might do in the physical dimension if you don’t discriminate.” Wil paused as if in thought, then continued. “All this is more of the Tenth Insight; that’s why we’re seeing it. As communication between the two dimensions increases, we’ll begin to have more encounters with souls in the Afterlife. This part of the Insight is that we must discern between those souls who are awake and connected with the spirit of love and those who are fearful and stuck in an obsessive trance of some kind. But we must do so without invalidating and dehumanizing those caught in such fear dramas by thinking they are demons or devils. They are souls in a growth process, just like us.

In my mind’s eye I saw my soul group again and felt their deep caring and love. Concentrating on the feeling, I was able to shake off the blanketing anxiety and to amplify my energy in increments until finally I began to open up inside. Immediately the environment shifted to lighter shades of gray and the town disappeared. As my energy increased, I was able to image Wil’s face, and instantly he was beside me. “Are you okay?” he asked, turning to embrace me. His expression showed immense relief. “Those illusions were strong, and you willed yourself right into them.” “I know. I couldn’t think, couldn’t remember what to do.” “You were gone a long time; all we could do was send you energy.” “Who do you mean by we?” “All these souls.” Wil’s hand gestured outwardly. When I looked fully, I could see hundreds of souls stretching as far as I could see. Some were looking directly at us, but most appeared to be focused in another direction. I looked to see where they were staring, following their gaze to several large swirls of energy far in the distance. When I concentrated my focus, I realized that one of the swirls was in fact the town from which I had just escaped. “What are those places?” I asked Wil. “Mental constructions,” he replied, “set up by souls who in life lived very restrictive control dramas and could not wake up after death. Many thousands of them exist out there.