Icon For Double Quotes

When you're in a situation like that, when you have a man looming over you, it's as if every decision you made to lead to that moment - alone with a man you don't trust - flashes before your eyes. Something tells me men don't do that same thing. When they're standing there, threatening a woman, I doubt they count every wrong step they made to become the asshole they are. But they should.

As iconic filmmaker Francis Ford Coppola observed, “The way to come to power is not always to merely challenge the Establishment, but first make a place in it and then challenge and double-cross the Establishment.

(...) The floor itself was inscribed with a mosaic in the data-pattern mode, representing the entire body of the Curia case law. At the center, small icons representing constitutional principles sent out lines to each case in which they were quoted; bright lines for controlling precedent, dim lines for dissenting opinions or dicta. Each case quoted in a later case sent out additional lines, till the concentric circles of floor-icons were meshed in a complex network. The jest of the architect was clear to Phaethon. The floor mosaic was meant to represent the fixed immutability of the law; but the play of light from the pool above made it seem to ripple and sway and change with each little breeze. Above the floor, not touching it, without sound or motion, hovered three massive cubes of black material. These cubes were the manifestations of the Judges. The cube shape symbolized the solidity and implacable majesty of the law. Their high position showed they were above emotionalism or earthly appeals. The crown of each cube bore a thick-armed double helix of heavy gold. The gold spirals atop the black cubes were symbols of life, motion, and energy. Perhaps they represented the active intellects of the Curia. Or perhaps they represented that life and civilization rested on the solid foundations of the law. If so, this was another jest of the architect. The law, it seemed, rested on nothing.

A number inside brackets ([1]) links to a footnote. Images You can zoom large images to full-screen size. For Kindle devices with a 5-Way Controller, select the image, and activate it when the magnifying glass icon appears; on the Kindle Fire device, double-tap on the image; on the Kindle Touch, tap and hold on the image for about a second, then tap on the magnifying glass icon. Navigation You can access the ESV Bible Table of Contents by pressing the MENU button and selecting Table of Contents at any time. This

In 1920, a resident of Navarre, Ohio, reported that the town’s mayor had shot and killed his dachshund “for being German.” The dogs were “completely driven off the streets” in Cincinnati. Londoners feared walking their dachshunds in public, lest the animals be stoned to death. Reports of children beating, kicking, and “siccing” other dogs on dachshunds throughout England and the United States were common, and AKC registrations of dachshunds dropped to the low double digits, even as breeders scrambled to rename them “liberty hounds” and “liberty pups.

The Logic of the Double or Triple Threat On “career advice,” Scott has written the following, which is slightly trimmed for space here. This is effectively my mantra, and you’ll see why I bring it up: If you want an average, successful life, it doesn’t take much planning. Just stay out of trouble, go to school, and apply for jobs you might like. But if you want something extraordinary, you have two paths: 1) Become the best at one specific thing. 2) Become very good (top 25%) at two or more things. The first strategy is difficult to the point of near impossibility. Few people will ever play in the NBA or make a platinum album. I don’t recommend anyone even try. The second strategy is fairly easy. Everyone has at least a few areas in which they could be in the top 25% with some effort. In my case, I can draw better than most people, but I’m hardly an artist. And I’m not any funnier than the average standup comedian who never makes it big, but I’m funnier than most people. The magic is that few people can draw well and write jokes. It’s the combination of the two that makes what I do so rare. And when you add in my business background, suddenly I had a topic that few cartoonists could hope to understand without living it.

You learn more about how to use the desktop environment in Chapter 4. For now, double-click the Wi-Fi Config icon on the desktop to open the tool. Click the Scan button to search for available Wi-Fi networks. Double-click the one you’d like to use, and it will prompt you to enter your security information by completing the white (unshaded) boxes (see Figure 3-10). The SSID box is used for the name of the network and will be completed automatically for you. You most likely have a WPA network, so the PSK box is where you type in your Wi-Fi password. You can ignore the optional boxes. Finally, click the Add button to connect to the network.

Double-clicking on his inbox, Jason noted that one of the three messages was from Suzy, aka ButterfliesInMyTummy, and his mood lifted. It was the fourth or fifth message they’d exchanged, and they were just starting to move beyond the tedious small-talk stage. He skimmed through the message, growing increasingly impatient. Suzy favoured those little face icons. The whole page was littered with them – smiley faces, sad faces, surprised faces, embarrassed faces. Why couldn’t she just use words like everyone else? She also put five or six exclamation marks after a sentence, or added extra vowels to words, so everything was sooooooooo much fun or soooooooooo boring. It wound Jason up when people couldn’t write properly. He wasn’t asking for brain of Britain, but he liked a woman to be able to write a sentence that started with a capital letter and ended with a full stop and at least made an attempt at the Queen’s English. At least it wasn’t in text speak. He refused to answer the messages that spelled thanks ‘tnx’. Britain didn’t go through two World Wars so that the English language could be mutilated beyond recognition.

While in Kolkata, India, for this book, I stayed at the iconic Oberoi Grand. The concierge explained to me the hotel’s hiring philosophy: “You can’t bend mature bamboo. But if you get it as a young shoot, you can bend it, mold it. We hire them between the ages of 18 and 21 so we can mold them.” The concierge was one of only 15 double golden key (Clef d’Or) concierges in India, and he knew that sometimes having no experience is a huge advantage. Age doesn’t matter; an open mind does.

Those of us who are lucky enough to live in a world where we have enough and we have a roof and we have food—we find ourselves caught in this cycle of keeping track of the wrong things. Keeping track of how many times we’ve been rejected. Keeping track of how many times it didn’t work. Keeping track of all the times someone has broken our heart or double-crossed us or let us down. Of course, we can keep track of those things, but why? Why keep track of them? Are they making us better? “Wouldn’t it make more sense to keep track of the other stuff? To keep track of all the times it worked? All the times we took a risk? All the times we were able to brighten someone else’s day? When we start doing that, we can redefine ourselves as people who are able to make an impact on the world. It took me a bunch of cycles to figure out that the narrative was up to me. “If a narrative isn’t working, well then, really, why are you using it? The narrative isn’t done to you; the narrative is something that you choose. Once

Marc Andreessen (here) long ago referred to the above double-/triple-threat concept, citing Scott’s writing, as “even the secret formula to becoming a CEO. All successful CEOs are like this.” He reiterated that you could also cultivate this in school by getting unusual combinations of degrees, like engineering + MBA, law degree + MBA, or undergrad physics + economics.

The Power of Myth For screenwriting, Jon recommends The Writer’s Journey by Christopher Vogler, which he used to determine if Swingers was structurally correct. He is also a big fan of The Power of Myth, a video interview of Joseph Campbell by Bill Moyers. “With The Jungle Book, I really am going back and doubling down on the old myths.” TF: We recorded our podcast during the shooting of The Jungle Book, in his production office next to set. Months later, The Jungle Book was the #1 movie in the world and currently has a staggering 95% review average on Rotten Tomatoes. Long-Term Impact Trumps Short-Term Gross “Thanks to video, and later DVD and laser disc, everybody had seen this film [Swingers], and it had become part of our culture. That’s when I learned that it’s not always the movie that does the best [financially] that has the most impact, or is the most rewarding, or does the most for your career, for that matter.” Another Reason to Meditate “In the middle of [a meditation session], the idea for Chef hit me, and I let myself stop, which I don’t usually do, and I took out a pad. I scribbled down like eight pages of ideas and thoughts, [and then I] left it alone. If I look back on it, and read those pages, it really had 80% of the heavy lifting done, as far as what [Chef] was about, who was in it, who the characters were, what other movies to look at, what the tone was, what music I would have in it, what type of food he was making, the idea of the food truck, the Cuban sandwiches, Cuban music . . . so it all sort of grew out from that.

Now, I regarded my opponent carefully, as if we were sitting across from each other over a chessboard. Zagaev had a round head, a double chin that his beard obscured pretty well and bristly hair that couldn’t decide to be gray or less gray. His age, duBois had reported, was only forty-three. His head was large, his pallor anemic. He nervously gripped and ungripped his hands every few seconds. I knew this only because I heard the tinkle of cuffs behind his back. He wore a thick gold chain around his neck and an amulet on which was an unlikely icon. I was pretty sure it was Tsar Alexander II, who I knew from my studies was a moderate reformer—by absolute-ruler standards—in mid-nineteenth-century Russia. Still, it was curious that a Chechnyan would choose this particular image. Zagaev’s clothes were expensive, more than I could afford, more than I wanted to. His suit was cut from vibrant blue silk, the color of the sky in a child’s fantasy book. His snakeskin shoes glittered in the jarring overhead light. His sweat was repulsive; I could smell body odor and onions from across the table. I

Double Your Profits: In Six Months or Less, by Bob Fifer.

For those in search of Joan herself, the surviving documents produced by these tribunals present a double challenge. Though their purpose may be clear, their rules of engagement – articles of inquiry, for example, glimpsed only through the responses they elicit – can be disconcertingly elusive. And the difficulty of interpreting the information they contain is compounded by the shockingly vivid presence of a girl who, through the unforeseeable effect of her own unyielding conviction, had achieved what should, for someone of her sex and class, have been impossible. Her forceful charisma is palpable in the transcript of the trial that condemned her to a heretic’s death. When dazzlingly displayed through the differently partisan judgement which annulled that verdict, it transformed the Maid into a legend, an icon and a saint.

The Soul-Hole (Note: The icons in TSH do not necessarily match with their intended formal meanings, they are merely frosting. Also, there are no footnotes to explain the text as there are multiple interpretations–like the proverphorical layer cake. Enjoy the cuisine. If it gets tedious its meant to. (Once dedicated to certains who want to stuff their pie holes on a diet of fattening sweet nothings). The Soul–Hole It was a soul It had a goal— (It had a notion–to fill its whole) Its desire was—to fill its hle It “dug” wholeheartedly its soul hole 5 To fill its soul and solely occupy the whole It tried all things to feed its hole— All sort O’ wants stuffed it–its black h●le The more it ❽ the more it famished— Ate its soul—all the more ravished 10 It thought it best Take More not less— Spaded it in–the meaningless Every shovel made Its hle got deep twice laid— 15 Struck it poor it did–its dirt well paid ◷ne scoop forward tw◑ depths deep Length doubles t◒◒—its emptying sØul–it keeps On the w(h)◎le, it went whole hog, To burrow its hole–this groundhog went agog— Furrowed it deep—to slop its façade The more it strode to trench its hole— A thimbleful empty⨟ no (front) end load (–Pssst! Its as if it got bit by a pire of soul— Yea, a soulpire sucked its swhoule dry— 25 Leaving 2wö more empty holes) It filled but missed It labored in bliss Found it it—it abyssed In dread and fearh it stoked its hole 30 With joyous tear it looped its knot whole Broke its soil with useless toil All–to–make it—it–assoiled Other: “do it have a h ◙ le in its •ead?—? It needs to fill its head h⌻le–like a hole in its head (—Fill ⎌ its h

The Soul-Hole (Note: icons in TSH do not necessarily match with formal meanings, they are decorative. There are multiple interprets–like the proverphorical layer cake. Enjoy the cuisine. Once dedicated to they who wish to stuff their pie holes on a diet of fattening sweet nothings). The Soul–Hole It was a soul It had a goal— (It had a notion–to fill its whole) Its desire was—to fill its hle It “dug” wholeheartedly its soul hole 5 To fill its soul and solely occupy the whole It tried all things to feed its hole— All sort O’ wants stuffed it–its black h●le The more it ❽ the more it famished— Ate its soul—all the more ravished 10 It thought it best Take More not less— Spaded it in–the meaningless Every shovel made Its hle got deep twice laid— 15 Struck it poor it did–its dirt well paid ◷ne scoop forward tw◑ depths deep Length doubles t◒◒—its emptying sØul–it keeps On the w(h)◎le, it went whole hog, To burrow its hole–this groundhog went agog— Furrowed it deep—to slop its façade The more it strode to trench its hole— A thimbleful empty⨟ no (front) end load (–Pssst! Its as if it got bit by a pire of soul— Yea, a soulpire sucked its swhoule dry— 25 Leaving 2wö more empty holes) It filled but missed It labored in bliss Found it it—it abyssed In dread and fearh it stoked its hole 30 With joyous tear it looped its knot whole Broke its soil with useless toil All–to–make it—it–assoiled Other: “do it have a h ◙ le in its •ead?—? It needs to fill its head h⌻le–like a hole in its head (—Fill ⎌ its h

Kundalini is a primitive spirit, a creative force that typically resides in a dormant state within our bodies. We realize our innate power and completeness upon awakening. We know there is everything within us that we need to be happy and fulfilled. Kundalini is not a physical reality but a perceptible reality. Once we have been awakened, we are shedding our old tendencies, and negativity like a snake sheds off its old skin. The kundalini is said to empower us with Shakti — that Divine Mother's primordial energy. Charged with this feminine creative force, we get filled with the vigor, enthusiasm, willpower, and self-confidence that we need to shake off negative memories and emotions hidden deep within our subconscious mind. Our mind is getting dormant. Issues and issues that had once held our focus now seem insignificant. Such a mind-state automatically produces intuitive wisdom.  Released from the endless chain of uncertainty and misunderstanding, insight is our guardian and guide.  The strength of discernment is unfailing. The reason kundalini awakening is such a remarkable aspect of spiritual awakening is that it is not based on complex theological arguments or religious norms that are culturally defined. Instead, Kundalini concentrates on the divine's immediate, ultimate experience within us. And regardless of your particular religious background and values, we can all use kundalini yoga to assist in our spiritual evolution. Most ancient myths allude to the meaning of kundalini. Tiresias narrative is a prime example. If Tiresias–the ancient Greek seer discovered two copulating snakes, he would stick his staff between them to distinguish them. He was immediately turned into a woman and remained like that for seven years until he was able to repeat his action and turn back into a male. In this novel, the force of change, powerful enough to completely reverse both male and female physical polarities, emerges from the fusion of the two serpents, passed on by the ring. Tiresias staff was later passed on to Hermes along with serpents. Several medical organizations use the ancient Greek icon of Hermes, the Greek god and messenger of all gods, called “Karykeion.” In occult Hermetic philosophy, Hermes Caduceus represents the masculine's potential as a central phallic rod surrounded by two coupling serpents ' writhing, woven Shakti energies. The rod also represents the spine (sushumna), while the serpents perform metaphysical currents (pranas) along the inda and pingala channels from the chakra at the base of the spine to the pineal gland in a double helix pattern.

Each piece of content was infinitely manipulable and recyclable. Every facet of every post—from the copy and artwork to the length and layout—represented a decision, and every decision was worth tinkering with and rethinking. For instance, when she noticed a preponderance of smartphone readers sharing articles over email, she enlarged the email icon on BuzzFeed’s mobile displays. In the span of a week, the number of shares via mobile email doubled.

Unlike many a royal couple, Nicholas and Alexandra shared the same bed. The bedroom was a large chamber with tall windows opening onto the park. A large double bed made of light-colored wood stood between two windows. Chairs and couches covered in flowered tapestry were scattered about on a thick carpet of mauve pile. To the right of the bed, a door led to a small chapel used by the Empress for her private prayers. Dimly lit by hanging lamps, the room contained only an icon on one wall and a table holding a Bible. Another door led from the bedroom to Alexandra’s private bathroom, where a collection of old-fashioned fixtures were set in a dark recess.

[Reacher] moved the mouse and sent the arrow up toward the icons. He knew they were files. Or file folders. You had to click on them, and in response they would open. He was never sure whether you had to click once or twice. He had seen it done both ways. His usual habit was to click twice. If in doubt, etcetera. Maybe it helped, and it never seemed to hurt. Like shooting someone in the head. A double tap could do no harm.

1) To get huge, good things done, you need to be okay with letting the small, bad things happen. 2) People’s IQs seem to double as soon as you give them responsibility and indicate that you trust them.

Those of us who are lucky enough to live in a world where we have enough and we have a roof and we have food—we find ourselves caught in this cycle of keeping track of the wrong things. Keeping track of how many times we’ve been rejected. Keeping track of how many times it didn’t work. Keeping track of all the times someone has broken our heart or double-crossed us or let us down. Of course, we can keep track of those things, but why? Why keep track of them? Are they making us better?

The Gothic repeatedly stages moments of transgression because it is obsessed with establishing and policing borders, delineating strict categories of being. The enduring icons of the Gothic are entities that breach the absolute distinctions between life and death (ghosts, vampires, mummies, zombies, Frankenstein's creature) or between human and beast (werewolves and other animalistic regressions, the creatures spliced together by Dr. Moreau) or which threaten the integrity of the individual ego and the exercise of will by merging with another (Jeckyll and Hyde, the persecuting double, the Mesmerist who holds victims in his or her power). Ostensibly, conclusions reinstate fixed borders, re-secure autonomy, and destroy any intolerable occupants of these twilight zones.

track of how many times we’ve been rejected. Keeping track of how many times it didn’t work. Keeping track of all the times someone has broken our heart or double-crossed us or let us down. Of course, we can keep track of those things, but why? Why keep track of them? Are they making us better? “Wouldn’t it make more sense to keep track of the other stuff? To keep track of all the times it worked?