F String Quotes

Something in what Deacon said caused Aiden to string together an atrocity of f-bombs. My brows flew up. Aiden rarely cussed or lost his cool, but boy, he was a grenade whose pin had just been pulled.

Accept the good, however big or small, with no strings attached.

Translate into words for me the sighings of the wind through the forest and the withdrawal of the sea down the pebbly beach and the string of sunlight playing on the hyacinth-strewn grass. You cannot! Then you know why the apostle described his experiences in Paradise as unspeakable.

The seemingly most hateful, those on the front lines of despair, are mere instruments of sinister forces, which pull the manipulative strings of manufactured supremacy.

We tend to assume that when something awful happens there must have been some great controlling intelligence behind it. It’s understandable: how could things have gone so wrong, we think, if there wasn’t an evil genius pulling the strings? The downside of this is that we tend to assume that if we can’t immediately spot an evil genius, then we can all chill out a bit because everything will be fine. But history suggests that’s a mistake, and it’s one that we make over and over again. Many of the worst man-made events that ever occurred were not the product of evil geniuses. Instead they were the product of a parade of idiots and lunatics, incoherently flailing their way through events, helped along the way by overconfident people who thought they could control them.

He was impressed with his father's fiction and noticed certain stylistic tics that he shared, and figured it was genetic. Why would genes determine only physical traits, eye color and left-handedness? Why not other, more subtle, bodiless proclivities such as a love of the semicolon and a propensity to string modifying clauses ad infinitum?

Rin could not understand how the Federation had found so many different ways to inflict suffering. But each corner they turned revealed another instance in the string of horrors, barbarian savagery matched only by inventiveness.

They stopped thinking with an almost painful relief, stopped seeing; they only breathed and sought each other. They were both in the gray gentle world of a mild hangover of fatigue when the nerves relax in bunches like piano strings, and crackle suddenly like wicker chairs. Nerves so raw and tender must surely join other nerves, lips to lips, breast to breast…

It went exactly according to my plan. That is, until my period was a week late and I realized I ate an entire loaf of bread and seven sticks of string cheese while I sat at the kitchen table looking at the calendar and wishing I'd paid more attention to math in kindergarten because there was no f**king way I counted right.

God, I miss my high school days, when I could flip my notebook open to an empty page and see possibility instead of frustration. When I took real pleasure in stringing words and sentences together just to see how they sounded. When writing was an act of sheer imagination, of taking myself away somewhere else, of creating something that was only for me.

Sometimes you must loose the string to let the arrow fly.

When Gabriel was about Ivo's age," the duchess remarked almost dreamily, staring out at the plum-colored sky, "he found a pair of orphaned fox cubs in the woods, at a country manor we'd leased in Hampshire. Has he told you about that?" Pandora shook her head, her eyes wide. A reminiscent smile curved the duchess's full lips. "It was a pair of females, with big ears, and eyes like shiny black buttons. They made chirping sounds, like small birds. Their mother had been killed in a poacher's trap, so Gabriel wrapped the poor th-things in his coat and brought them home. They were too young to survive on their own. Naturally, he begged to be allowed to keep them. His father agreed to let him raise them under the gamekeeper's supervision, until they were old enough to return the f-forest. Gabriel spent weeks spoon-feeding them with a mixture of meat paste and milk. Later on, he taught them to stalk and catch prey in an outside pen." "How?" Pandora asked, fascinated. The older woman glanced at her with an unexpectedly mischievous grin. "He dragged dead mice through their pen on a string." "That's horrid," Pandora exclaimed, laughing. "It was," the duchess agreed with a chuckle. "Gabriel pretended not to mind, of course, but it was qu-quite disgusting. Still, the cubs had to learn." The duchess paused before continuing more thoughtfully. "I think for Gabriel, the most difficult part of raising them was having to keep his distance, no matter how he loved them. No p-petting or cuddling, or even giving them names. They couldn't lose their fear of humans, or they wouldn't survive. As the gamekeeper told him, he might as well murder them if he made them tame. It tortured Gabriel, he wanted to hold them so badly." "Poor boy." "Yes. But when Gabriel finally let them go, they scampered away and were able to live freely and hunt for themselves. It was a good lesson for him to learn." "What was the lesson?" Pandora asked soberly. "Not to love something he knew he would lose?" The duchess shook her head, her gaze warm and encouraging. "No, Pandora. He learned how to love them without changing them. To let them be what they were meant to be.

When I took real pleasure in stringing words and sentences together just to see how they sounded. When writing was an act of sheer imagination, of taking myself away somewhere else, of creating something that was only for me.

Why are some words bad? The idea that they could be bothered me as a kid. Words are strings of sounds. How could sounds be bad? But of course: words aren’t just strings of sound. They are strings of sound to which we attach meaning. And yet it’s not the meaning of words that makes them bad either. Just consider this list: poop, crap, manure, dung, feces, stool. It’s all the same s**t. And yet, it’s only “s**t” we shouldn’t say. Why is that? F**k if I know.

Was that a tattoo I saw on your back?” He asked. “None of your business.” “I just didn’t peg you for the tramp stamp type.” “It’s not a tramp stamp. It’s my F-holes,” I corrected. His eyes had widened before he let out a long, deep laugh. “Jesus, Henley.” “For a violin, you A-hole.” I turned around, raising my shirt high enough on my lower back to reveal two curved lines on either side of my spine. I jumped when the pad of his finger ran over the design leaving a trail of goosebumps in its wake. “Wow,” he mumbled, and I turned back around to face him, letting the hem of my shirt fall from my hands. “What? You think it’s stupid.” “No… no. I think that’s the sexiest tattoo I’ve ever seen. How often does someone get to finger your strings?

Sixsmith, Eva. Because her name is a synonym for temptation: what treads nearer to the core of man? Because her soul swims in her eyes. Because I dream of creeping through the velvet folds to her room, where I let myself in, hum her a tune so-so-so softly, she stands with her naked feet on mine, her ear to my heart, and we waltz like string puppets. After that kiss, she says, “Vous embrassez comme un poisson rouge!” and in moonlight mirrors we fall in love with our youth and beauty. Because all my life, sophisticated, idiotic women have taken it upon themselves to understand me, to cure me, but Eva knows I’m terra incognita and explores me unhurriedly, like you did. Because she’s lean as a boy. Because her scent is almonds, meadow grass. Because if I smile at her ambition to be an Egyptologist, she kicks my shin under the table. Because she makes me think about something other than myself. Because even when serious she shines. Because she prefers travelogues to Sir Walter Scott, prefers Billy Mayerl to Mozart, and couldn’t tell C major from a sergeant major. Because I, only I, see her smile a fraction before it reaches her face. Because Emperor Robert is not a good man—his best part is commandeered by his unperformed music—but she gives me that rarest smile, anyway. Because we listened to nightjars. Because her laughter spurts through a blowhole in the top of her head and sprays all over the morning. Because a man like me has no business with this substance “beauty,” yet here she is, in these soundproofed chambers of my heart. Sincerely, R.F.

Before I forget.’ Griffin reached into his coat, pulled out a wrapped parcel, and tossed it at Robin. ‘I got you something.’ Surprised, Robin pulled at the string. ‘A tool?’ ‘Just a present. Merry Christmas.’ Robin tore away the paper, which revealed a lovely, freshly printed volume. ‘You said you liked Dickens,’ said Griffin. ‘They’d just bound the serialization of his latest – you might have already read it, but I thought you’d like it all in one piece.

Before I forget.’ Griffin reached into his coat, pulled out a wrapped parcel, and tossed it at Robin. ‘I got you something.’ Surprised, Robin pulled at the string. ‘A tool?’ ‘Just a present. Merry Christmas.’ Robin tore away the paper, which revealed a lovely, freshly printed volume. ‘You said you liked Dickens,’ said Griffin. ‘They’d just bound the serialization of his latest – you might have already read it, but I thought you’d like it all in one piece.’ He’d

love is the capacity to acknowledge the other’s real self in a warm, affectionate way, with no strings attached, and to enjoy the sexual passion that energizes the relationship in such a way that the welfare of the partner, in every sense of that term, becomes as important as one’s own welfare. In fact, we could say that true love is a union of two people, each for the good of the other, where the other’s best interests become at least equal to one’s own. In light of what we have been saying throughout this book, to love is to like, approve of, and support another’s real self and to encourage the other to activate, express, and nurture that real self. This investment in the other enlarges, enriches, and completes the experience of the self.

faithfulness  c put an end to them.     6 With a freewill offering I will sacrifice to you;         I will give thanks to your name, O LORD,  d for it is good. 7    For he has delivered me from every trouble,         and my eye has  e looked in triumph on my enemies. Cast Your Burden on the LORD To the choirmaster: with  f stringed instruments. A Maskil [1] of David.     PSALM 55  g Give ear to my prayer, O God,         and hide not yourself from my plea for mercy! 2    Attend to me, and answer me;         I am restless  h in my complaint and I  i moan, 3    because of the noise of the enemy,         because of the oppression of the wicked.     For they  j drop trouble upon me,         and in anger they bear a grudge against me.     4 My heart is in anguish within me;

VICTORIAN FUNERAL BISCUITS Adapted from the third edition of Miss Beecher’s Domestic Receipt-Book, published in 1862. ½ c sugar ½ c salted butter, softened 1 c molasses ½ c warm water 2 tbs fresh minced ginger 2 ¼ c flour ½ tsp baking soda In a large bowl, use an electric mixer to beat the sugar and butter together until light and fluffy, about 1 minute. Add the molasses, water, and ginger, and beat until combined. In a separate bowl, whisk together the flour and baking soda. Add flour to molasses mixture and use electric mixer to combine well. Dough will be stiff. Split dough into two balls. Knead each dough ball several times to remove any air bubbles. Form dough into two even logs, approximately 8 inches long. Wrap each log tightly in plastic wrap. Refrigerate for several hours until firm. Preheat oven to 350°F. Line two baking sheets with parchment paper. Slice each log of dough into ¼-inch rounds and place one inch apart on baking sheets. Each dough log makes approximately 25 biscuits. If desired, use a knife or stamp to impress an image onto the biscuits. Bake 20 minutes. Let cool completely (biscuits should be crunchy). Wrap several biscuits in wax paper and secure with a black wax stamp or black string.

9A writing of Hezekiah king of Judah, after he had been sick and had recovered from his sickness: 10 I said,  x In the middle [4] of my days I must depart; I am consigned to the gates of Sheol for the rest of my years. 11 I said, I shall not see the LORD, the LORD  y in the land of the living; I shall look on man no more among the inhabitants of the world. 12 My dwelling is plucked up and removed from me z like a shepherd’s tent; a like a weaver b I have rolled up my life;  c he cuts me off from the loom;  d from day to night you bring me to an end; 13 e I calmed myself [5] until morning; like a lion  f he breaks all my bones; from day to night you bring me to an end. 14 Like  g a swallow or a crane I chirp; h I moan like a dove.  i My eyes are weary with looking upward. O Lord, I am oppressed;  j be my pledge of safety! 15 What shall I say? For he has spoken to me, and he himself has done it.  k I walk slowly all my years because of the bitterness of my soul. 16  l O Lord, by these things men live, and in all these is the life of my spirit. Oh restore me to health and make me live! 17  m Behold, it was for my welfare that I had great bitterness;  n but in love you have delivered my life from the pit of destruction,  n for you have cast all my sins behind your back. 18  o For Sheol does not thank you; death does not praise you; those who go down to the pit do not hope for your faithfulness. 19 The living, the living, he thanks you, as I do this day;  p the father makes known to the children your faithfulness. 20 The LORD will save me, and we will play my music on stringed instruments all the days of our lives,  q at the house of the LORD.

suppress empty strings in the output array when the separator is a regular expression: var f = '|a|b|c|'.split(/\|/); // f is ['a', 'b', 'c'] on some systems, and // f is ['', 'a', 'b', 'c', ''] on others string.substring(start, end ) The substring method is the same as the slice method except that it doesn’t handle the adjustment for negative parameters. There is no reason to use the substring method. Use slice instead. string.toLocaleLowerCase( ) The toLocaleLowerCase method produces a new string that is made by converting this string to lowercase using the rules for the locale. This is primarily for the benefit of Turkish because in that language `I’ converts to 1

The sticky-sweet night embraced me like a satisfied lover. Raucous laughter crowded in close as people strolled up Bourbon Street with their green plastic drink holders fashioned after grenades. A little girl broke away from her parents and ran toward me, stopping much too close and snatching a string of pink beads off the street.

Actors are learnt in flimsy ways. They’re speaking the words of someone else when you see them. A professional. Those are not their thoughts. So when you’re interviewing one it’s a bit of a gamble. Can they even string a sentence together? Are they an idiot? Are they the smartest person in the room? Are they well-read? Are they interesting? It always comes down to that last question. Are you interesting? Will you make this unique? I walked into this conversation expecting something. Can you deliver your lines like your characters do? Sometimes the answer is a resounding yes. Those are the best days. The worst ones go horribly. Because they’re just boring.

I partakes of that dog—some. I don't nacherally lay for said repast wide-jawed, full-toothed an' reemorseless, like it's flapjacks—I don't gorge myse'f none; but when I'm in Rome, I strings my chips with the Romans like the good book says, an' so I sort o' eats baked dog with the Utes.

So how does one bring about the restoration of value-based behavior in the marketplace and in the other arenas of modern life? I offer four simple suggestions, as follows: When you engage in something that affects others, first ask yourself: Is this right? Would I like to be treated this way? Take your values to work. Don’t disconnect them when you sit down at your desk. There should not be a conflict between making a profit and adhering to traditional principles of decency and fairness. Consider yourself your brothers’ and sisters’ keeper and set the example for ethical behavior. There should not be a conflict between making a profit and adhering to traditional principles of decency and fairness. Make the underpinnings of your life a string of f-words (phonetically, at least): family, faith, fortitude, fairness, fidelity, friendship, and philanthropy.

A piano tuner used to come over to our house when I was young. He was a blind man, his eyes burnt-out holes in his head, his body all bent. I remember how strange he looked against the grandeur of our lives, how he stooped over that massive multitoothed instrument and tweaked its tones. The piano never looked any different after he’d worked on it, but when I pressed a C key or the black bar of an F minor, the note sprung out richer, as though chocolate and spices had been added to a flat sound. This was what was different. It was as though I’d been visited by a blind piano tuner who had crept into my apartment at night, who had tweaked the ivory bones of my body, the taut strings in my skull, and now, when I pressed on myself, the same notes but with a mellower, fuller sound sprang out.

The eminent physicist and co-founder of string theory, Michio Kaku, has actually said: [I]f you have a radio in your living room . . . and you have all frequencies in your living room; BBC, Radio Moscow, ABC, but your radio is tuned to one frequency—you’re decohered from all the other frequencies. You’re only coherent [wave phase and amplitude in alignment; either exactly or in whole number ratios] with one frequency. We now believe that the universe is vibrating and that there are vibrations of other universes right in this room. There are the universes of dinosaurs because the comet didn’t hit 65 million years ago; the wave function of aliens from outer space looking at the rubble of an earth that already was destroyed—all in your living room, except we have decohered from them. We’re no longer in tune with them, we don’t vibrate with them . . . [P]robably there are other parallel universes in your living room and believe it or not this is called modern physics . . . get used to it. This is the modern interpretation of the quantum theory, that many worlds represents reality.26 Not long ago, almost anyone who uttered such a sentiment would have been dismissed by many as “New Age-y,” “flaky,” and so on, but it is no longer feasible to use such convenient rationalizations with physicists of Kaku’s credibility speaking as a clairvoyant or mystic might.

1.1M    ./scripts 58M     ./cloud9 74M     . You can also use tee to write the output to several files at the same time, as shown in this example: root@beaglebone:/opt# du ‐d1 ‐h | tee /tmp/1.txt /tmp/2.txt /tmp/3.txt Filter Commands (from sort to xargs) There are filtering commands, each of which provides a useful function: sort: This command has several options, including (‐r) sorts in reverse; (‐f) ignores case; (‐d) uses dictionary sorting, ignoring punctuation; (‐n) numeric sort; (‐b) ignores blank space; (‐i) ignores control characters; (‐u) displays duplicate lines only once; and (‐m) merges multiple inputs into a single output. wc (word count): This can be used to calculate the number of words, lines, or characters in a stream. For example: root@beaglebone:/tmp# wc < animals.txt  4  4 18 This has returned that there are 4 lines, 4 words, and 18 characters. You can select the values independently by using (‐l) for line count; (‐w) for word count; (‐m) for character count; and (‐c) for the byte count (which would also be 18 in this case). head: Displays the first lines of the input. This is useful if you have a very long file or stream of information and you want to examine only the first few lines. By default it will display the first 10 lines. You can specify the number of lines using the ‐n option. For example, to get the first five lines of output of the dmesg command (display message or driver message), which displays the message buffer of the kernel, you can use the following: root@beaglebone:/tmp# dmesg | head ‐n5   [    0.000000] Booting Linux on physical CPU 0x0   [    0.000000] Initializing cgroup subsys cpuset   [    0.000000] Initializing cgroup subsys cpu   [    0.000000] Initializing cgroup subsys cpuacct   [    0.000000] Linux version 3.13.4-bone5(root@imx6q-sabrelite-1gb-0) tail: This is just like head except that it displays the last lines of a file or stream. Using it in combination with dmesg provides useful output, as shown here: root@beaglebone:/tmp# dmesg | tail ‐n2   [   36.123251] libphy: 4a101000.mdio:00 - Link is Up - 100/Full   [   36.123421] IPv6:ADDRCONF(NETDEV_CHANGE): eth0:link becomes ready grep: A very powerful filter command that can parse lines using text and regular expressions. You can use this command to filter output with options, including (‐i) ignore case; (‐m 5) stop after five matches; (‐q) silent, will exit with return status 0 if any matches are found; (‐e) specify a pattern; (‐c) print a count of matches; (‐o) print only the matching text; and (‐l) list the filename of the file containing the match. For example, the following examines the dmesg output for the first three occurrences of the string “usb,” using ‐i to ignore case: root@beaglebone:/tmp# dmesg |grep ‐i ‐m3 usb   [    1.948582] usbcore: registered new interface driver usbfs   [    1.948637] usbcore: registered new interface driver hub   [    1.948795] usbcore: registered new device driver usb You can combine pipes together. For example, you get the exact same output by using head and displaying only the first three lines of the grep output: root@beaglebone:/tmp# dmesg |grep ‐i usb |head ‐n3   [    1.948582] usbcore: registered new interface driver usbfs   [    1.948637] usbcore: registered new interface driver hub   [    1.948795] usbcore: registered new device driver usb xargs: This is a very powerful filter command that enables you to construct an argument list that you use to call another command or tool. In the following example, a text file args.txt that contains three strings is used to create three new files. The output of cat is piped to xargs, where it passes the three strings as arguments to the touch command, creating three new files a.txt, b.txt,

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

Let’s see what your temperature is,” she said, bringing an electronic thermometer over from the desk. “It’s higher than usual.” Her amber stare flipped up to his. “Your arm.” “No, your eyes.” She blinked, then seemed to shake herself. “I seriously doubt that.” “Then you underestimate your appeal.” As she shook her head and clicked one of the plastic covers onto the silver wand, he caught a whiff of her scent. His fangs elongated. “Open.” She brought the thermometer up and waited. “Well?” Rehv stared into those amazing tricolored eyes of hers and dropped his jaw. She leaned in, all business as usual, only to freeze. As she looked at his canines, her scent surged with something dark and erotic. Triumph singed in his veins as he growled, “Do me.” There was a long moment, during which the two of them were bound together by invisible strings of heat and longing. Then her mouth flattened out. “Never, but I will take your temperature, because I have to.” She jabbed the thermometer in between his lips, and he had to clamp his teeth together to keep the thing from deflating one of his tonsils. S’all good, though. Even if he couldn’t have her, he turned her on. And that was more than he deserved. There was a beep, an interval, and another beep. “One oh nine,” she said as she stepped back and released the plastic cover into the biohazard bin. “Havers will be with you as soon as he’s able.” The door clapped shut behind her with the hard syllabic smack of the f-word. Man, she was hot. -Ehlena & Rehv

During NASA’s first fifty years the agency’s accomplishments were admired globally. Democratic and Republican leaders were generally bipartisan on the future of American spaceflight. The blueprint for the twenty-first century called for sustaining the International Space Station and its fifteen-nation partnership until at least 2020, and for building the space shuttle’s heavy-lift rocket and deep spacecraft successor to enable astronauts to fly beyond the friendly confines of low earth orbit for the first time since Apollo. That deep space ship would fly them again around the moon, then farther out to our solar system’s LaGrange points, and then deeper into space for rendezvous with asteroids and comets, learning how to deal with radiation and other deep space hazards before reaching for Mars or landings on Saturn’s moons. It was the clearest, most reasonable and best cost-achievable goal that NASA had been given since President John F. Kennedy’s historic decision to land astronauts on the lunar surface. Then Barack Obama was elected president. The promising new chief executive gave NASA short shrift, turning the agency’s future over to middle-level bureaucrats with no dreams or vision, bent on slashing existing human spaceflight plans that had their genesis in the Kennedy, Johnson, Nixon, Ford, Carter, Reagan, Bush, Clinton, and Bush White Houses. From the starting gate, Mr. Obama’s uncaring space team rolled the dice. First they set up a presidential commission designed to find without question we couldn’t afford the already-established spaceflight plans. Thirty to sixty thousand highly skilled jobs went on the chopping block with space towns coast to coast facing 12 percent unemployment. $9.4 billion already spent on heavy-lift rockets and deep space ships was unashamedly flushed down America’s toilet. The fifty-year dream of new frontiers was replaced with the shortsighted obligations of party politics. As 2011 dawned, NASA, one of America’s great science agencies, was effectively defunct. While Congress has so far prohibited the total cancellation of the space agency’s plans to once again fly astronauts beyond low earth orbit, Obama space operatives have systematically used bureaucratic tricks to slow roll them to a crawl. Congress holds the purse strings and spent most of 2010 saying, “Wait just a minute.” Thousands of highly skilled jobs across the economic spectrum have been lost while hundreds of billions in “stimulus” have been spent. As of this writing only Congress can stop the NASA killing. Florida’s senior U.S. Senator Bill Nelson, a Democrat, a former spaceflyer himself, is leading the fight to keep Obama space advisors from walking away from fifty years of national investment, from throwing the final spade of dirt on the memory of some of America’s most admired heroes. Congressional committees have heard from expert after expert that Mr. Obama’s proposal would be devastating. Placing America’s future in space in the hands of the Russians and inexperienced commercial operatives is foolhardy. Space legend John Glenn, a retired Democratic Senator from Ohio, told president Obama that “Retiring the space shuttles before the country has another space ship is folly. It could leave Americans stranded on the International Space Station with only a Russian spacecraft, if working, to get them off.” And Neil Armstrong testified before the Senate’s Commerce, Science & Transportation Committee that “With regard to President Obama’s 2010 plan, I have yet to find a person in NASA, the Defense Department, the Air Force, the National Academies, industry, or academia that had any knowledge of the plan prior to its announcement. Rumors abound that neither the NASA Administrator nor the President’s Science and Technology Advisor were knowledgeable about the plan. Lack of review normally guarantees that there will be overlooked requirements and unwelcome consequences. How could such a chain of events happen?

this point the value in f would be a map whose keys are strings and whose values are themselves stored as empty interface values: map[string]interface{}{        “Name”: “Wednesday”,        “Age”: 6,        “Parents”: []interface{}{            “Gomez”,            “Morticia”,        }, } To access this data we can use a type assertion to access f’s underlying map[string]interface{}: m := f.(map[string]interface{}) We can then iterate through the map

The spinal column should be straightened “as if it were beads fastened together on a string” (JP, f. 6a). Keeping the spine straight is particularly important because it aligns the subtle energy channels in the body, especially the central channel, which in turn helps stabilize the mind.310 Proper placement of the hands in the equipose posture means that the left hand is on the bottom. The chest is lifted slightly and expanded. The shoulders are pulled back so that the diaphragm is allowed to expand.311 The neck is bent slightly like a fish hook or a cane. The tongue is held at the roof of the mouth, while the teeth and lips are left relaxed. The positioning of the eyes is very important. Tashi Namgyel recommends keeping them slightly open, unfocused at the tip of the nose. Jampel Pawo suggests looking, unfocused, “the distance of one yoke” (about four feet) in front. Either way an unfocused gaze “controls contact with the senses” (reg pa dbang pos bsgyur; JP, f. 6b). By fixing the gaze, the practitioner not only re-orders a point of the posture but restricts any interaction with and perception of the surroundings at the same time.

Or from the British general whom the Germans credit as one of the sources of the Blitzkrieg, J. F. C. Fuller: It was to employ mobility as a psychological weapon: not to kill but to move; not to move to kill but to move to terrify, to bewilder, to perplex, to cause consternation, doubt and confusion in the rear of the enemy … 18 In other words, the purpose of Blitzkrieg strategy was not so much to cope with chaos, but to cause and then exploit it, and it is this cascading of panic and chaos that accounts for the German’s “string of luck.

No, you don’t get it: we can have you put in prison forever without paying anything. If you pay the bribe for the crewmembers, we won’t pull those strings. Then you can pay for your own release... Goodbye citizen Ping, take heart you are helping two of your compatriots. Even a bad egg like you can aid the motherland.

As much as she loved the Santa side of Christmas, Marva knew they were just decorations on the spiritual tree. No string of lights could shine brighter than the nativity that represented the real meaning of the holiday.

Life has a tricky way of redefining the word forever. You’re taught at a young age that forever is limitless. But maybe there is a limit. Maybe, just maybe, forever comes in spurts and when you string those spurts together, with the moments where forever faltered, they equal happily ever after.

To a man accustomed to hand-to-hand combat in the forest, the tangle of growing debts at first appeared no more than a minor civil hindrance. But like a series of Lilliputian strings, these entanglements would begin to slow even the intrepid major

C​G/B​C To play the drums ​F​C/F​G To be picked for teams ​C​C/F​C A safe place to pee ​Em​Am Tall trees to climb ​F​C/E​G A dark blue bike ​C​G​C For her to notice me ​E Don’t braid my hair ​Am Don’t make me wear ​G That bridesmaid’s dress, oh joy ​C​G/B​C That school today ​F​C/E​G Will be easy I pray ​C​G​C Or to just wake up a boy C (Muscles, muscles, muscles, muscles, muscles, muscles, muscles) C Thou shalt learn to wink ​G Thou shalt learn all the knots ​F Thou shalt cuss liberally ​C Thou shalt not trash talk ​G the girls ​​F Thou shalt not let the world make you hard ​​C Thou shalt learn to dance and lead C (Muscles, muscles, muscles, muscles, muscles, muscles, muscles) C Thou shalt acquire scars ​G Thou shalt start a pine cone war ​F Thou shalt practice throwing punches ​C Thou shalt not wear a skort ​G Get dirty ​​F In your pockets thou shalt keep A special rock a pocket knife your grubby mitts ​C And several melodies G Tomboy! Tomboy! Tomboy! F​Dm​G​C Tomboy! Tomboy! Tomboy! (Muscles, muscles, muscles, muscles, muscles, muscles, muscles) (repeating) C I always have a piece of string G I want to practice French kissing F Don’t cry so much all of the time G I shine my armour every night G Tomboy! Tomboy! Tomboy! F​Dm​G​C Tomboy! Tomboy! Tomboy! C Thou shalt learn to wink G Thou shalt learn all the knots ​F Thou shalt cuss liberally ​C Thou shalt not trash talk ​G the girls ​​F Thou shalt not let the world make you hard make you bad ​​C Thou shalt learn to dance and lead G Tomboy! Tomboy! Tomboy! F​Dm​G​C Just to be a good Tomboy!

while no one wants to hand out money without strings attached, too many strings could strangle.

I was in love with the result—the image of me on stage, people cheering, me rocking out, pouring my heart into what I was playing—but I wasn’t in love with the process. And because of that, I failed at it. Repeatedly. Hell, I didn’t even try hard enough to fail at it. I hardly tried at all. The daily drudgery of practicing, the logistics of finding a group and rehearsing, the pain of finding gigs and actually getting people to show up and give a shit, the broken strings, the blown tube amp, hauling forty pounds of gear to and from rehearsals with no car. It’s a mountain of a dream and a mile-high climb to the top. And what it took me a long time to discover is that I didn’t like to climb much. I just liked to imagine the summit. The common cultural narratives would tell me that I somehow failed myself, that I’m a quitter or a loser, that I just didn’t “have it,” that I gave up on my dream and that maybe I let myself succumb to the pressures of society. But the truth is far less interesting than any of these explanations. The truth is, I thought I wanted something, but it turns out I didn’t. End of story. I wanted the reward and not the struggle. I wanted the result and not the process. I was in love with not the fight but only the victory. And life doesn’t work that way. Who you are is defined by what you’re willing to struggle for. People who enjoy the struggles of a gym are the ones who run triathlons and have chiseled abs and can bench-press a small house. People who enjoy long workweeks and the politics of the corporate ladder are the ones who fly to the top of it. People who enjoy the stresses and uncertainties of the starving artist lifestyle are ultimately the ones who live it and make it. This is not about willpower or grit. This is not another admonishment of “no pain, no gain.” This is the most simple and basic component of life: our struggles determine our successes. Our problems birth our happiness, along with slightly better, slightly upgraded problems. See: it’s a never-ending upward spiral. And if you think at any point you’re allowed to stop climbing, I’m afraid you’re missing the point. Because the joy is in the climb itself.

1.    Preheat the oven to 350°F. Combine the endive, parsley, ½ cup of the mint, the greens, bread crumbs, 1 tablespoon of the caraway seeds, 1 tablespoon of the coriander seeds, the citrus peel, nutmeg, dates, ½ cup of the capers, the egg, brown sugar, verjuice, and marrow in a large bowl and season with salt and pepper. Season both sides of the lamb with salt and pepper. Spoon the mixture into the center of the lamb and tie closed with kitchen string. Place in a baking pan and bake for 1¼ hours, or until the internal temperature reaches 160°F for medium. Remove the lamb from the pan and let rest for 10 minutes. Meanwhile, bring the stock to a boil in a small sauce pan, until reduced by half. 2.    Add the orange juice to the baking pan and stir well to loosen the pan drippings. Purée the pan drippings with the Renaissance Stock, the remaining 2 tablespoons of mint, the remaining 2 tablespoons of capers, and the granulated sugar until smooth. Stir in the orange zest and warm in a small saucepan. 3.    Place the leg of lamb in the center of a serving platter and spoon the sauce over the lamb. Sprinkle the remaining ½ tablespoon of caraway and coriander seeds over the lamb and around the platter. ORIGINAL RECIPE: A Legge of Lambe searst with Hearbes Strue it as before shewed, with sweet Hearbes and grated Bread, Bisket seeds, a few Coriander-seeds, Lemmon pills minst fine, Nutmeg sliced, sliced Dates, a little grosse pepper, Capers washt cleane: put all together with sixe or seven yolkes of new layd Egges, hard roasted and whole, & put them in your stuffe and worke them with Sugar, Rosewater and verjuyce, and the Marrow of a bone or two, Salt and pepper, put all together into the Skin: Carrawayes and Orangado are fittest garnish for your Dish. MURRELLS TWO BOOKES OF COOKERIE AND CARVING, BOOK 1, 1615

Anyone who looks hard enough, or opens themselves to it, can see us. Like a magic show, if you pay attention, you can find the strings and hidden doors.

All success is the stringing together of single steps that become a journey and ultimately lead to a destination. Often that destination is not what you thought it would be in the beginning. But if your steps are taken with purpose, passion, perseverance, and good intentions, then you can be assured that you will arrive in a meaningful place.

Therefore, the pursuit of happiness is not only self-defeating but also impossible. It’s like trying to catch a carrot hanging by a string tied to a stick attached to your back. The more you move forward, the more you have to move forward. When you make the carrot your end goal, you inevitably turn yourself into the means to get there. And by pursuing happiness, you paradoxically make it less attainable.

Here are some musical selections you can play quietly for the fetus. Since these pieces may calm the baby after birth, it’s good to have a small but well-rehearsed repertoire. These are recommended by Dr. F. Rene Van de Carr and musician and retired professor Dr. Donald Shetler. Music for the Royal Fireworks, Handel “Spring,” from The Four Seasons, Vivaldi Air on the G String,J. S. Bach The Brandenburg Concertos, J. S. Bach Canon in D Major, Pachelbel Pictures at an Exhibition, Mussorgsky Slow steady pieces by Haydn, Mozart, Beethoven, or Vivaldi Popular music by Tom Paxton, Burl Ives, Tom Chapin, and Raffi

The four of us decide to make our way to Albert Hall. The Incredible String Band will soon be playing. We get tickets for the show. Before going in we huddle together under a tree and share a doobie that Del supplies. The show is a far out experience. We hear some great instrumentals. Music of all kinds fills my heart and soul with delight. After the show the

And then I started appreciating it for what it really was: unadulterated expression. Honesty in the truest sense of the word. Communication with no conditions, no strings attached, no ulterior motive, no sales job, no desperate attempt to be liked.

Honesty in the truest sense of the word. Communication with no conditions, no strings attached, no ulterior motive, no sales job, no desperate attempt to be liked.

Therefore, the pursuit of happiness is not only self-defeating but also impossible. It’s like trying to catch a carrot hanging by a string tied to a stick attached to your back. The more you move forward, the more you have to move forward. When you make the carrot your end goal, you inevitably turn yourself into the means to get there. And by pursuing happiness, you paradoxically make it less attainable. The pursuit of happiness is a toxic value that has long defined our culture. It is self-defeating and misleading. Living well does not mean avoiding suffering; it means suffering for the right reasons. Because if we’re going to be forced to suffer by simply existing, we might as well learn how to suffer well.

Therefore, the pursuit of happiness is not only self-defeating but also impossible. It’s like trying to catch a carrot hanging by a string tied to a stick attached to your back. The more you move forward, the more you have to move forward. When you make the carrot your end goal, you inevitably turn yourself into the means to get there. And by pursuing happiness, you paradoxically make it less attainable. The

Writing didn't used to be so miserable. God I miss my high school days. I could float my notebook open to an empty page and see possibility instead of frustration. When I took real pleasure in stringing words and sentences together just to see how they sounded. When writing was an act of sheer imagination, of taking myself away somewhere else, of creating something that was only for me. I miss writing before I met Athena Liu.

Potato Strings These little crispy bits work great on top of your favorite taco salad, soup, or chili. Or eat them straight as a good healthy-carb snack. If you don’t have a vegetable spiralizer, look for prepackaged spiraled sweet potatoes in the produce department. To store any unused portion, place in a bowl with paper towel or a loose piece of parchment paper over top. Do not place in an airtight container or they will become soft. MAKES 4 SERVINGS Ingredients: 1 small Japanese or purple-skinned sweet potato, peeled (if desired) and spiralized ½–1 teaspoon ancho chile powder (to taste) Pantry items: Cooking spray Himalayan pink salt Directions: Preheat the air fryer to 320°F for 5 minutes. Place the sweet potato spirals in a medium bowl and spray with cooking spray. Add the chile powder and a large pinch of salt and toss to evenly coat. Transfer the strings to the fry basket and cook for 4 minutes. Open and shake or stir the spirals. Cook until they become crisp, about 4 minutes more. Remove from the fryer and add another hit of salt. Allow to cool.

Paul had written out the arrangement—every note that he thought the individual string lines should be,” Trench said. “And he’d written them out as ‘G, G octave, F-sharp’ or whatever—the names of the notes, because he didn’t write or read music notation. I had no problem with that, but it was enormous—I think it was on sheets of A2 paper [16.5 by 23.4 inches]. He handed it to me and said, ‘Now you go and make it better,’ which meant ‘Now you transcribe it into musical notation and amend it as you see fit.’ He was quite easy about that, but the arrangement is very much his concept.”3