Posters Success Quotes

The first thing the attendees saw when they walked in was a poster with the question “What are our mokitas?”—a Papua New Guinea word for that which everyone knows and no one will speak of: the elephant in the room.

I blame the Internet. Its inconsiderate inclusion of everything.Success is transparent and accessible, hanging down where it can tease but not touch us. We talk into these scratchy microphones and take extra photographs but I still feel like there are just SO MANY PEOPLE. Every day, 1,035.6 books are published; sixty-six million people update their status each morning. At night, aimlessly scrolling, I remind myself of elementary school murals. One person can make a difference! But the people asking me what I want to be when I grow up don't want me to make a poster anymore. They want me to fill out forms and hand them rectangular cards that say HELLO THIS IS WHAT I DO.

Our leaders strain every nerve and with success, to get the next war going, while the rest of us, meanwhile, dance the fox trot, earn money and eat chocolates...And perhaps...it has always been the same and always will be, and what is called history at school, and all we learn by heart there about heroes and geniuses and great deeds and fine emotions, is all nothing but a swindle invented by the schoolmasters for educational reasons to keep children occupied for a given number of years. It has always been so and always will be. Time and the world, money and power belong to the small people and shallow people. To the rest, to the real men belongs nothing...eternity...it isn't fame. Fame exists in that sense only for the schoolmasters. No, it isn't fame. It is what I call eternity...The music of Mozart belongs there and the poetry of your great poets. The saints, too, belong there, who have worked wonders and suffered martyrdom and given a great example to men. But the image of every true act, the strength of every true feeling, belongs to eternity just as much, even though no one knows of it or sees it or records it or hands it down to posterity. In eternity there is no posterity...It is the kingdom on the other side of time and appearances. It is there we belong. There is our home. It is that which our heart strives for...And we have no one to guide us. Our only guide is our homesickness.

The struggle of the artist against the art-ideology, against the creative impulse and even against his own work also shows itself in his attitude towards success and fame; these two phenomena are but an extension, socially, of the process which began subjectively with the vocation and creation of the personal ego to be an artist. In this entire creative process, which begins with self-nomination as artist and ends in the fame of posterity, two fundamental tendencies — one might almost say, two personalities of the individual — are in continual conflict throughout: one wants to eternalize itself in artistic creation, the other in ordinary life — in brief, immortal man vs. the immortal soul of man.

The hour is fast approaching, on which the Honor and Success of this army, and the safety of our bleeding Country depend. Remember officers and Soldiers, that you are free men, fighting for the blessings of Liberty -- that slavery will be your portion, and that of your posterity, if you do not acquit yourselves like men.

To live for the moment is the prevailing passion—to live for yourself, not for your predecessors or posterity. We are fast losing the sense of historical continuity, the sense of belonging to a succession of generations originating in the past and stretching into the future.

If I were to say that the so-called philosophy of this fellow Hegel is a colossal piece of mystification which will yet provide posterity with an inexhaustible theme for laughter at our times, that it is a pseudo-philosophy paralyzing all mental powers, stifling all real thinking, and, by the most outrageous misuse of language, putting in its place the hollowest, most senseless, thoughtless, and, as is confirmed by its success, most stupefying verbiage, I should be quite right.

Your thought should be creative and not destructive; it should be full of hope and faith for a more excellent future.

His ideal is a man who, having worked all day for the good of posterity (if that is his vocation), washes his mind of the whole subject, commits the issue to Heaven, and returns at once to the patience or gratitude demanded by the moment that is passing over him. But we want a man hag-ridden by the Future—haunted by visions of an imminent heaven or hell upon earth—ready to break the Enemy’s commands in the present if by so doing we make him think he can attain the one or avert the other—dependent for his faith on the success or failure of schemes whose end he will not live to see. We want a whole race perpetually in pursuit of the rainbow’s end, never honest, nor kind, nor happy now, but always using as mere fuel wherewith to heap the altar of the future every real gift which is offered them in the Present.

What one needs to do is to keep this correct thinking up and to make it a part and parcel of personality. For that you need to keep reminding yourself at continuous intervals. Write your aims or positive ideas in your diary and read them before sleep and after getting up in morning. You can paste motivational posters in your living room which will give you positive energy.

The alley is a pitch for about twenty women leaning in doorways, chain-smoking. In their shiny open raincoats, short skirts, cheap boots, and high-heeled shoes they watch the street with hooded eyes, like spies in a B movie. Some are young and pretty, and some are older, and some of them are very old, with facial expressions ranging from sullen to wry. Most of the commerce is centred on the slightly older women, as if the majority of the clients prefer experience and worldliness. The younger, prettier girls seem to do the least business, apparent innocence being only a minority preference, much as it is for the aging crones in the alley who seem as if they’ve been standing there for a thousand years. In the dingy foyer of the hotel is an old poster from La Comédie Française, sadly peeling from the all behind the desk. Cyrano de Bergerac, it proclaims, a play by Edmond Rostand. I will stand for a few moments to take in its fading gaiety. It is a laughing portrait of a man with an enormous nose and a plumed hat. He is a tragic clown whose misfortune is his honour. He is a man entrusted with a secret; an eloquent and dazzling wit who, having successfully wooed a beautiful woman on behalf of a friend cannot reveal himself as the true author when his friend dies. He is a man who loves but is not loved, and the woman he loves but cannot reach is called Roxanne. That night I will go to my room and write a song about a girl. I will call her Roxanne. I will conjure her unpaid from the street below the hotel and cloak her in the romance and the sadness of Rostand’s play, and her creation will change my life.

I regard posterity as vulgar as success. I don't trust posterity. I don't think what's good is necessarily recognized in the long run. Too many good writers have disappeared.

How far you go in life and in your career is dependent on how far you can think good thoughts!

You are the guardian and custodian of your heart, remember this always!

You can use songs, scriptures and godly pictures to chart your thought-course in the right direction.

Your future is dependent on your thought today, therefore think good and lovely thoughts now!

When your thought is right, your imaginations will be colourful; you will then dream and not have nightmares!

Your thought is so important because it has the ability to make or mar you. Your thought will either move you forward or set you backwards.

The positioning of the mind is what makes the difference between the failures and the successes.

Think on blessings and not curses, beauty not ugliness, health not sickness. Meditate on wealth not poverty, success not failure, grace not disgrace!

Always set your mind to think thoughts of victory even before the battle begins, this way you will experience limitless possibilities.

Truly successful writers blend the personal and the profound to enlighten and entertain readers while simultaneously banking something for posterity. Remuneration is a wonderful afterthought.

In 1908, in a wild and remote area of the North Caucasus, Leo Tolstoy, the greatest writer of the age, was the guest of a tribal chief “living far away from civilized life in the mountains.” Gathering his family and neighbors, the chief asked Tolstoy to tell stories about the famous men of history. Tolstoy told how he entertained the eager crowd for hours with tales of Alexander, Caesar, Frederick the Great, and Napoleon. When he was winding to a close, the chief stood and said, “But you have not told us a syllable about the greatest general and greatest ruler of the world. We want to know something about him. He was a hero. He spoke with a voice of thunder; he laughed like the sunrise and his deeds were strong as the rock….His name was Lincoln and the country in which he lived is called America, which is so far away that if a youth should journey to reach it he would be an old man when he arrived. Tell us of that man.” “I looked at them,” Tolstoy recalled, “and saw their faces all aglow, while their eyes were burning. I saw that those rude barbarians were really interested in a man whose name and deeds had already become a legend.” He told them everything he knew about Lincoln’s “home life and youth…his habits, his influence upon the people and his physical strength.” When he finished, they were so grateful for the story that they presented him with “a wonderful Arabian horse.” The next morning, as Tolstoy prepared to leave, they asked if he could possibly acquire for them a picture of Lincoln. Thinking that he might find one at a friend’s house in the neighboring town, Tolstoy asked one of the riders to accompany him. “I was successful in getting a large photograph from my friend,” recalled Tolstoy. As he handed it to the rider, he noted that the man’s hand trembled as he took it. “He gazed for several minutes silently, like one in a reverent prayer, his eyes filled with tears.” Tolstoy went on to observe, “This little incident proves how largely the name of Lincoln is worshipped throughout the world and how legendary his personality has become. Now, why was Lincoln so great that he overshadows all other national heroes? He really was not a great general like Napoleon or Washington; he was not such a skilful statesman as Gladstone or Frederick the Great; but his supremacy expresses itself altogether in his peculiar moral power and in the greatness of his character. “Washington was a typical American. Napoleon was a typical Frenchman, but Lincoln was a humanitarian as broad as the world. He was bigger than his country—bigger than all the Presidents together. “We are still too near to his greatness,” Tolstoy concluded, “but after a few centuries more our posterity will find him considerably bigger than we do. His genius is still too strong and too powerful for the common understanding, just as the sun is too hot when its light beams directly on us.

In 2001 came the announcement that shocked the corporate world. Enron—the corporate poster child, the company of the future—had gone belly-up. What happened? How did such spectacular promise turn into such a spectacular disaster? Was it incompetence? Was it corruption? It was mindset.

Amory Blaine inherited from his mother every trait, except the stray inexpressible few, that made him worth while. His father, an ineffectual, inarticulate man with a taste for Byron and a habit of drowsing over the Encyclopedia Britannica, grew wealthy at thirty through the death of two elder brothers, successful Chicago brokers, and in the first flush of feeling that the world was his, went to Bar Harbor and met Beatrice O'Hara. In consequence, Stephen Blaine handed down to posterity his height of just under six feet and his tendency to waver at crucial moments, these two abstractions appearing in his son Amory. For many years he hovered in the background of his family's life, an unassertive figure with a face half-obliterated by lifeless, silky hair, continually occupied in "taking care" of his wife, continually harassed by the idea that he didn't and couldn't understand her.

Success is transparent and accessible, hanging down where it can tease but not touch us. We talk into these scratchy microphones and take extra photographs but I still feel like there are just SO MANY PEOPLE. Every day, 1,035.6 books are published; sixty-six million people update their status each morning. At night, aimlessly scrolling, I remind myself of elementary school murals. One person can make a difference! But the people asking me what I want to be when I grow up don’t want me to make a poster anymore. They want me to fill out forms and hand them rectangular cards that say HELLO THIS IS WHAT I DO.

My brother went to Harvard seven years after arriving in the States with no English. I won the Pulitzer Prize. We could be put on a poster touting how refugees make America great. And we do. But it shouldn’t take this kind of success to be welcomed. Even if refugees, undocumented immigrants, and legal immigrants are not all potential billionaires, that is no reason to exclude them.

This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man; for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this; for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow. Yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way.

The great acting guru Constantin Stanislavski said, “Love art in yourself, not yourself in art.” I think of that often. I try to live by that. Work, hone your craft, enjoy your successes in whatever doses they may come. But do not fall in love with the poster, the image of you in a movie, winning an Oscar, the perks, the limo, being rich and famous. If that is what you’re falling in love with, you’re doomed to fail.

While marriage in the first instance is for the benefit of the contracting parties, both physical, mental, and spiritual, each must take the longer view and realize that the same success or failure in this venture will carry over into the lives of posterity. When people marry, they not only choose companions for life, but they also select the parents for their children and the "stock" for their posterity. [Roy West, Vital Quotations, 223]

If we analyse the classes of life, we readily find that there are three cardinal classes which are radically distinct in function. A short analysis will disclose to us that, though minerals have various activities, they are not "living." The plants have a very definite and well known function-the transformation of solar energy into organic chemical energy. They are a class of life which appropriates one kind of energy, converts it into another kind and stores it up; in that sense they are a kind of storage battery for the solar energy; and so I define THE PLANTS AS THE CHEMISTRY-BINDING class of life. The animals use the highly dynamic products of the chemistry-binding class-the plants-as food, and those products-the results of plant-transformation-undergo in animals a further transformation into yet higher forms; and the animals are correspondingly a more dynamic class of life; their energy is kinetic; they have a remarkable freedom and power which the plants do not possess-I mean the freedom and faculty to move about in space; and so I define ANIMALS AS THE SPACE-BINDING CLASS OF LIFE. And now what shall we say of human beings? What is to be our definition of Man? Like the animals, human beings do indeed possess the space-binding capacity but, over and above that, human beings possess a most remarkable capacity which is entirely peculiar to them-I mean the capacity to summarise, digest and appropriate the labors and experiences of the past; I mean the capacity to use the fruits of past labors and experiences as intellectual or spiritual capital for developments in the present; I mean the capacity to employ as instruments of increasing power the accumulated achievements of the all-precious lives of the past generations spent in trial and error, trial and success; I mean the capacity of human beings to conduct their lives in the ever increasing light of inherited wisdom; I mean the capacity in virtue of which man is at once the heritor of the by-gone ages and the trustee of posterity. And because humanity is just this magnificent natural agency by which the past lives in the present and the present for the future, I define HUMANITY, in the universal tongue of mathematics and mechanics, to be the TIME-BINDING CLASS OF LIFE.

The central fact of biblical history, the birth of the Messiah, more than any other, presupposes the design of Providence in the selecting and uniting of successive producers, and the real, paramount interest of the biblical narratives is concentrated on the various and wondrous fates, by which are arranged the births and combinations of the 'fathers of God.' But in all this complicated system of means, having determined in the order of historical phenomena the birth of the Messiah, there was no room for love in the proper meaning of the word. Love is, of course, encountered in the Bible, but only as an independent fact and not as an instrument in the process of the genealogy of Christ. The sacred book does not say that Abram took Sarai to wife by force of an ardent love, and in any case Providence must have waited until this love had grown completely cool for the centenarian progenitors to produce a child of faith, not of love. Isaac married Rebekah not for love but in accordance with an earlier formed resolution and the design of his father. Jacob loved Rachel, but this love turned out to be unnecessary for the origin of the Messiah. He was indeed to be born of a son of Jacob - Judah - but the latter was the offspring, not of Rachel but of the unloved wife, Leah. For the production in the given generation of the ancestor of the Messiah, what was necessary was the union of Jacob precisely with Leah; but to attain this union Providence did not awaken in Jacob any powerful passion of love for the future mother of the 'father of God' - Judah. Not infringing the liberty of Jacob's heartfelt feeling, the higher power permitted him to love Rachel, but for his necessary union with Leah it made use of means of quite a different kind: the mercenary cunning of a third person - devoted to his own domestic and economic interests - Laban. Judah himself, for the production of the remote ancestors of the Messiah, besides his legitimate posterity, had in his old age to marry his daughter-in-law Tamar. Seeing that such a union was not at all in the natural order of things, and indeed could not take place under ordinary conditions, that end was attained by means of an extremely strange occurrence very seductive to superficial readers of the Bible. Nor in such an occurrence could there be any talk of love. It was not love which combined the priestly harlot Rahab with the Hebrew stranger; she yielded herself to him at first in the course of her profession, and afterwards the casual bond was strengthened by her faith in the power of the new God and in the desire for his patronage for herself and her family. It was not love which united David's great-grandfather, the aged Boaz, with the youthful Moabitess Ruth, and Solomon was begotten not from genuine, profound love, but only from the casual, sinful caprice of a sovereign who was growing old.

She found unexpected satisfaction in the half-forgotten masterpieces of the past, in poets not quite divine whom fashion had left on one side, in the playwright, novelists, and essayists whose remembrance lives only with the bookworm. It is a relief sometimes to look away from the bright sun of perfect achievement; and the writers who appealed to their age and not to posterity have by contrast a subtle charm. Undazzled by their splendor, one may discern more easily their individualities and the spirit of their time; they have pleasant qualities not always found among their betters, and there is even a certain pathos in their incomplete success.

We've reached a point in human history where higher education no longer works. As a result of technology, higher education in its traditional college setting no longer works. It will never be effective or progressive enough to keep up with the growing needs of employers who look to college institutions for their future employees. I can appreciate the good intent the college system set out to achieve. For previous generations, the formula actually worked. Students enrolled into universities that were affordable, they gained marketable skills and they earned good jobs. Since there was a proven track record of success, parents instilled the value of college in their children thinking they would achieve the same success story they did, but unfortunately Wall Street was watching. Wall Street, the federal government and the college system ganged up and skyrocketed the cost of tuition to record highs. This was easy to do because not only did they have posters blanketing high schools showing kids what a loser they would be if they didn't go to college, they also had Mom and Dad at home telling them the same thing. This system - spending 4+ years pursuing a college education when the world is changing at the speed of light - no longer works and it's not fixable. We now have the biggest employer's market in human history, where employers have their pick of the litter, and because of this employees will get paid less and less and benefits will continue to erode.

The thing is, if you’re good at what you do, you’re going to fail, because it means you’re out there taking risks. As people who have failed will often attest, failing isn’t that bad; it’s the fear of failure that can be paralyzing. That’s what keeps less successful people up at night, causing them to disengage, to hold back and not commit their full energies to their companies and coworkers. It causes them to quit a difficult task, refuse a promotion, avoid their boss, or hold their tongue in meetings. Fear of failure drains companies of their innovative lifeblood. Organizations that accept failure as a natural part of the creative process, however, can see tremendous increases in productivity, morale, and innovation, so it’s worthwhile for managers to figure out how to create a safe environment where their ensembles won’t be afraid to let loose. It’s not enough just to tell people it’s OK to fail and hang a bunch of posters emblazoned with platitudes; you have to model fearlessness.

Our leaders strain every nerve and with success, to get the next war going, while the rest of us, meanwhile, dance the fox trot, earn money and eat chocolates...And perhaps...it has always been the same and always will be, and what is called history at school, and all we learn by heart there about heroes and geniuses and great deeds and fine emotions, is all nothing but a swindle invented by the schoolmasters for educational reasons to keep children occupied for a given number of years. It has always been so and always will be. Time and the world, money and power belong to the small people and shallow people. To the rest, to the real men belongs nothing...eternity...it isn't fame. Fame exists in that sense only for the schoolmasters. No, it isn't fame. It is what I call eternity...The music of Mozart belongs there and the poetry of your great poets. The saints, too, belong there, who have worked wonders and suffered martyrdom and given a great example to men. But the image of every true act, the strength of every true feeling, belongs to eternity just as much, even though no one knows of it or sees it or records it or hands it down to posterity. In eternity there is no posterity...It is the kingdom on the other side of time and appearances. It is there we belong. There is our home. It is that which our heart strives for...And we have no one to guide us. Our only guide is our homesickness.

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

They had forgotten that there exists in the modern world, perhaps for the first time in history, a class of people whose interest is not that things should happen well or happen badly, should happen successfully or happen unsuccessfully, should happen to the advantage of this party or the advantage of that part, but whose interest simply is that things should happen. It is the one great weakness of journalism as a picture of our modern existence, that it must be a picture made up entirely of exceptions. We announce on flaring posters that a man has fallen off a scaffolding. We do not announce on flaring posters that a man has not fallen off a scaffolding. Yet this latter fact is fundamentally more exciting, as indicating that that moving tower of terror and mystery, a man, is still abroad upon the earth. That the man has not fallen off a scaffolding is really more sensational; and it is also some thousand times more common. But journalism cannot reasonably be expected thus to insist upon the permanent miracles. Busy editors cannot be expected to put on their posters, “Mr. Wilkinson Still Safe,” or “Mr. Jones, of Worthing, Not Dead Yet.” They cannot announce the happiness of mankind at all. They cannot describe all the forks that are not stolen, or all the marriages that are not judiciously dissolved. Hence the complete picture they give of life is of necessity fallacious; they can only represent what is unusual. However democratic they may be, they are only concerned with the minority.

And, in truth, while our friend smiled at these wild fables, he sighed in the same breath to think how the once genial earth produces, in every successive generation, fewer flowers than used to gladden the preceding ones. Not that the modes and seeming possibilities of human enjoyment are rarer in our refined and softened era,—on the contrary, they never before were nearly so abundant,—but that mankind are getting so far beyond the childhood of their race that they scorn to be happy any longer. A simple and joyous character can find no place for itself among the sage and sombre figures that would put his unsophisticated cheerfulness to shame. The entire system of man's affairs, as at present established, is built up purposely to exclude the careless and happy soul. The very children would upbraid the wretched individual who should endeavor to take life and the world as w what we might naturally suppose them meant for—a place and opportunity for enjoyment. It is the iron rule in our day to require an object and a purpose in life. It makes us all parts of a complicated scheme of progress, which can only result in our arrival at a colder and drearier region than we were born in. It insists upon everybody's adding somewhat—a mite, perhaps, but earned by incessant effort—to an accumulated pile of usefulness, of which the only use will be, to burden our posterity with even heavier thoughts and more inordinate labor than our own. No life now wanders like an unfettered stream; there is a mill-wheel for the tiniest rivulet to turn. We go all wrong, by too strenuous a resolution to go all right.

When the least obvious beauties of Vinteuil’s sonata were revealed to me, already, borne by the force of habit beyond the reach of my sensibility, those that I had from the first distinguished and preferred in it were beginning to escape, to avoid me. Since I was able only in successive moments to enjoy all the pleasures that this sonata gave me, I never possessed it in its entirety: it was like life itself. But, less disappointing than life is, great works of art do not begin by giving us all their best. In Vinteuil’s sonata the beauties that one discovers at once are those also of which one most soon grows tired, and for the same reason, no doubt, namely that they are less different from what one already knows. But when those first apparitions have withdrawn, there is left for our enjoyment some passage which its composition, too new and strange to offer anything but confusion to our mind, had made indistinguishable and so preserved intact; and this, which we have been meeting every day and have not guessed it, which has thus been held in reserve for us, which by the sheer force of its beauty has become invisible and has remained unknown, this comes to us last of all. But this also must be the last that we shall relinquish. And we shall love it longer than the rest because we have taken longer to get to love it. The time, moreover, that a person requires—as I required in the matter of this sonata—to penetrate a work of any depth is merely an epitome, a symbol, one might say, of the years, the centuries even that must elapse before the public can begin to cherish a masterpiece that is really new. So that the man of genius, to shelter himself from the ignorant contempt of the world, may say to himself that, since one’s contemporaries are incapable of the necessary detachment, works written for posterity should be read by posterity alone, like certain pictures which one cannot appreciate when one stands too close to them.

The National Socialist Movement has, besides its delivery from the Jewishcapitalist shackles imposed by a plutocratic-democratic, dwindling class of exploiters at home, pronounced its resolve to free the Reich from the shackles of the Diktat of Versailles abroad. The German demands for a revision were an absolute necessity, a matter of course for the existence and the honor of any great people. Posterity will some day come to regard them as exceedingly modest. All these demands had to be carried through, in practice against the will of the British French potentates. Now more than ever we all see it as a success of the leadership of the Third Reich that the realization of these revisions was possible for years without resort to war. This was not the case-as the British and French demagogues would have it-because we were not then in a position to wage war. When it finally appeared as though, thanks to a gradually awakening common sense, a peaceful resolution of the remaining problems could be reached through international cooperation, the agreement concluded in this spirit on September 29, 1938, at Munich by the four great states predominantly involved, was not welcomed by public opinion in London and Paris, but was condemned as a despicable sign of weakness. The Jewish capitalist warmongers, their hands covered with blood, saw in the possible success of such a peaceful revision the vanishing of plausible grounds for the realization of their insane plans. Once again that conspiracy of pitiful, corrupt political creatures and greedy financial magnates made its appearance, for whom war is a welcome means to bolster business. The international Jewish poison of the peoples began to agitate against and to coroode healthy minds. Men of letters set out to portray decent men who desired peace as weaklings and traitors, to denounce opposition parties as a “fifth column,” in order to eliminate internal resistance to their criminal policy of war. Jews and Freemasons, armament industrialists and war profiteers, international traders and stockjobbers, found political blackguards: desperados and glory seekers who represented war as something to be yearned for and hence wished for. Adolf Hitler - speech to the Reichstag Berlin, July 19, 1940

In the years preceding World War I, tenants in Budapest used boycotts as a weapon against individual landlords. “Residents who were not able to pay the increased rent and who were therefore evicted, called upon those seeking dwellings to boycott the houses concerned. These calls were publicized in newspapers and posters, and met with much success. As a result of this, and the solidarity of the tenants still living there, many landlords were forced to conclude collective contracts which severely restricted their rights.

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

The bookshelves were lined with Joan Didion and Flannery O'Connor, a small, unexpected collection of musicalia, essay collections on Leonard Cohen and Neil Young. There was a framed poster of an exhibit of romantic landscape paintings in Dresden. Intellectuals had their own thing going, that was for sure.

Journaling “Journal writing gives us insights into who we are, who we were, and who we can become.” ― Sandra Marinella Throughout history, successful people have kept journals. We have state leaders who have preserved them for posterity and other famous individuals for their own purposes.

Lisa’s philosophy is that instead of trying to enact change from the top down (i.e., print a lot of posters telling people what to do, or attempt to enforce rigid guidelines), we’re actually much better off creating little pockets of chaos. The idea is that in this chaos, solutions can emerge.

Nick had looked up the word narcissism when his father accused his mother of being the poster child for that. He’d agreed with his dad’s armchair diagnosis, but that morning he felt like he was getting the full effect of the definition. The symptoms went through his mind like he was listening to a podcast—an extreme sense of self-importance and an inflated ego. Thoughts and fantasies of power, success, intelligence, and high status. Only associating with folks they consider to be special or in good social standing. Seeking constant attention and an entitled attitude.

Instead, successful propaganda will occupy every moment of the individual’s life: through posters and loudspeakers when he is out walking, through radio and newspapers at home, through meetings and movies in the evening. The individual must not be allowed to recover, to collect himself, to remain untouched by propaganda during any relatively long period, for propaganda is not the touch of the magic wand. It is based on slow, constant impregnation. It creates convictions and compliance through imperceptible influences that are effective only by continuous repetition. It must create a complete environment for the individual, one from which he never emerges. And to prevent him from finding external points of reference, it protects him by censoring everything that might come in from the outside. The slow building up of reflexes and myths, of psychological environment and prejudices, requires propaganda of very long duration.

What to do to be an Expert in Freelancing? What is Freelancing? We already know that, Now let's see What to do to be an Expert in Freelancing - Things to do for Self Development: Get positive feedback from clients by practicing what you are good at, and finding work that matches your skills. This is the key to your improvement and the first step to success. When you start to succeed, choose the opportunities that work best for you. Use the time appropriately and fully. Some of the processes of Self-Presentation after Self-Development are discussed below - Process of Introducing Yourself: 1. Enhance your profile and build your portfolio with accurate information about yourself. 2. Create your own signature that will identify you in your work. 3. Always use your own photo and signature for original work. 4. Run your own campaign. For example: commenting on others' posts, making full use of social sites, keeping in touch with others, doing service work, teaching others, participating in various seminars, and distributing leaflets or posters. Showing Professionalism: How to express or calculate that you are a professional? There are many ways, by which you can easily express that you are a professional entrepreneur or employee. The ways are: 1. Professionals never work for free, so before starting a job, you must be sure about the remuneration. 2. Professionals don't work on balance, if you want to show professionalism you must pay in cash or promise to pay half in advance and the rest at the end of the job. 3. A professional never lacks any research or communication for his work. Win the Client's Heart: There are thousands of freelancers in front of a client for a job, but only one gets the job. The person who got the job got it because he presented himself in the client's mind. Mistakes to Avoid: Only humans are fallible. It is natural for people to make mistakes, but if people can't learn from those mistakes then it is better not to make such mistakes. The Mistakes are: 1. Failure to identify oneself. 2. Show Engagement. 3. Lack of communication with the client etc. Being Punctual: It is wise to do the work on time. Never leave work. Because if you leave work, the amount of work will increase and not decrease. Therefore, it is better to do the work of time in time and move towards the formation of life by being respectful of time. So, if the above tasks are done or followed correctly, achieving success as a freelancer is just a saying. To make yourself a successful and efficient freelancer, the importance and importance of the above topics is immense.

As Monica Crowley adds, ‘Hillary has spun herself successfully as a feminist icon, but even a cursory look at her career shows that she is the exact opposite. Hillary is not the feminist icon she holds herself out to be, but is instead a poster girl for anti-feminism. Here’s why: everything she has achieved has been derivative of a man. She was a well-connected attorney in Arkansas because she was married to the governor. She was co-president for eight years because she was married to the co-president who got elected under his name. She is a US senator because she was married to her co-president. She is a serious candidate for president today because of the man to whom she is married.

The oral (agraphous) traditions of the papists, for they speak diversely of them. Sometimes tradition is used by them for the 'act of tradition' by which the sacred books were preserved by the church in an uninterrupted series of time (also a perpetual succession) and delivered to posterity. This is formal tradition and in this sense Origen says 'they learned by tradition that the four gospels were unquestioned in the church universal.' Second, it is often taken for the written doctrine which, being at first oral, was afterward committed to writing. Thus Cyprian says, 'Sacred tradition will preserve whatever is taught in the gospels or is found in the epistles of the apostles or in the Acts' (Epistle 74 'To Pompey'). Third, it is taken for a doctrine which does not exist in the Scriptures in so many words, but may be deduced thence by just and necessary consequence; in opposition to those who bound themselves to the express word of the Scriptures and would not admit the word homoousion because it did not occur verbatim there. Thus Basil denies that the profession of faith which we make in the Father, Son and Holy Spirit can be found in the Scriptures meaning the Apostles’ Creed, whose articles nevertheless are contained in the Scriptures as to sense (On the Spirit 8:41, 43). Fourth, it is taken for the doctrine of rites and ceremonies called 'ritual tradition.' Fifth, it is taken for the harmony of the old teachers of the church in the exposition of any passage of Scripture which, received from their ancestors, they retained out of a modest regard for antiquity because it agreed with the Scriptures. This may be called 'tradition of sense' or exegetical tradition (of which Irenaeus speaks, Against Heresies 3.3, and Tertullian often as well, Prescription Against Heretics 3:243–65). Sixth, they used the word tradition ad hominem in disputing with heretics who appealed to them not because all they approved of could not be found equally as well in the Scriptures, but because the heretics with whom they disputed did not admit the Scriptures; as Irenaeus says, 'When they perceived that they were confused by the Scriptures, they turned around to accuse them' (Against Heresies, 3.2). They dispute therefore at an advantage from the consent of tradition with the Scriptures, just as we now do from the fathers against the papists, but not because they acknowledged any doctrinal tradition besides the Scriptures. As Jerome testifies, 'The sword of God smites whatever they draw and forges from a pretended apostolic tradition, without the authority and testimony of the Scriptures' (Commentarii in prophetas: Aggaeum 1:11).

His name is C. J. Skender, and he is a living legend. Skender teaches accounting, but to call him an accounting professor doesn’t do him justice. He’s a unique character, known for his trademark bow ties and his ability to recite the words to thousands of songs and movies on command. He may well be the only fifty-eight-year-old man with fair skin and white hair who displays a poster of the rapper 50 Cent in his office. And while he’s a genuine numbers whiz, his impact in the classroom is impossible to quantify. Skender is one of a few professors for whom Duke University and the University of North Carolina look past their rivalry to cooperate: he is in such high demand that he has permission to teach simultaneously at both schools. He has earned more than two dozen major teaching awards, including fourteen at UNC, six at Duke, and five at North Carolina State. Across his career, he has now taught close to six hundred classes and evaluated more than thirty-five thousand students. Because of the time that he invests in his students, he has developed what may be his single most impressive skill: a remarkable eye for talent. In 2004, Reggie Love enrolled in C. J. Skender’s accounting class at Duke. It was a summer course that Love needed to graduate, and while many professors would have written him off as a jock, Skender recognized Love’s potential beyond athletics. “For some reason, Duke football players have never flocked to my class,” Skender explains, “but I knew Reggie had what it took to succeed.” Skender went out of his way to engage Love in class, and his intuition was right that it would pay dividends. “I knew nothing about accounting before I took C. J.’s class,” Love says, “and the fundamental base of knowledge from that course helped guide me down the road to the White House.” In Obama’s mailroom, Love used the knowledge of inventory that he learned in Skender’s class to develop a more efficient process for organizing and digitizing a huge backlog of mail. “It was the number-one thing I implemented,” Love says, and it impressed Obama’s chief of staff, putting Love on the radar. In 2011, Love left the White House to study at Wharton. He sent a note to Skender: “I’m on the train to Philly to start the executive MBA program and one of the first classes is financial accounting—and I just wanted to say thanks for sticking with me when I was in your class.

But they had forgotten something; they had forgotten journalism. They had forgotten that there exists in the modern world, perhaps for the first time in history, a class of people whose interest is not that things should happen well or happen badly, should happen successfully or happen unsuccessfully, should happen to the advantage of this party or the advantage of that part, but whose interest simply is that things should happen. It is the one great weakness of journalism as a picture of our modern existence, that it must be a picture made up entirely of exceptions. We announce on flaring posters that a man has fallen off a scaffolding. We do not announce on flaring posters that a man has not fallen off a scaffolding. Yet this latter fact is fundamentally more exciting, as indicating that that moving tower of terror and mystery, a man, is still abroad upon the earth. That the man has not fallen off a scaffolding is really more sensational; and it is also some thousand times more common. But journalism cannot reasonably be expected thus to insist upon the permanent miracles. Busy editors cannot be expected to put on their posters, "Mr. Wilkinson Still Safe," or "Mr. Jones, of Worthing, Not Dead Yet." They cannot announce the happiness of mankind at all. They cannot describe all the forks that are not stolen, or all the marriages that are not judiciously dissolved. Hence the complete picture they give of life is of necessity fallacious; they can only represent what is unusual. However democratic they may be, they are only concerned with the minority.

Set foot in his classroom, and you’ll see that he hasn’t quite given up on these dreams. True to his compulsive nature and eclectic taste, he punctuates his courses with entertaining routines to keep his students engaged, playing four songs at the start of each class and tossing candy bars to the first students who shout out the correct answers to music trivia. This is how a poster of a rapper ended up on his wall. “If you want to engage your audience, if you really want to grab their attention, you have to know the world they live in, the music they listen to, the movies they watch,” he explains. “To most of these kids, accounting is like a root canal. But when they hear me quote Usher or Cee Lo Green, they say to themselves, ‘Whoa, did that fat old white-haired guy just say what I thought he said?’ And then you’ve got ’em.

Piers Morgan Piers Morgan is a British journalist best known for his editorial work for the Daily Mirror from 1995 through 2004. He is also a successful author and television personality whose recent credits include a recurring role as a judge on NBC’s America’s Got Talent. A controversial member of the tabloid press during Diana’s lifetime, Piers Morgan established a uniquely close relationship with the Princess during the 1990s. I mentioned I’d been in contact with her mother. “Oh crikey, that sounds dangerous!” “She’s a feisty woman, isn’t she?” William giggled. “Granny’s great fun after a few gin and tonics.” “Sh, William,” Diana said, giggling too. “My mother’s been a tremendous source of support to me. She never talks publicly; she’s just there for me.” “And what about William’s other granny?” “I have enormous respect for the Queen; she has been so supportive, you know. People don’t see that side of her, but I do all the time. She’s an amazing person.” “Has she been good over the divorce?” “Yes, very. I just want it over now so I can get on with my life. I’m worried about the attacks I will get afterward.” “What attacks?” “I just worry that people will try and knock me down once I am out on my own.” This seemed unduly paranoid. People adored her. I asked William how he was enjoying Eton. “Oh, it’s great, thanks.” “Do you think the press bother you much?” “Not the British press, actually. Though the European media can be quite annoying. They sit on the riverbank watching me rowing with their cameras, waiting for me to fall in! There are photographers everywhere if I go out. Normally loads of Japanese tourists taking pictures. All saying “Where’s Prince William?’ when I’m standing right next to them.” “How are the other boys with you?” “Very nice. Though a boy was expelled this week for taking ecstasy and snuff. Drugs are everywhere, and I think they’re stupid. I never get tempted.” “Does matron take any?” laughed Diana. “No, Mummy, it gives her hallucinations.” “What, like imagining you’re going to be king?” I said. They both giggled again. “Is it true you’ve got Pamela Anderson posters on your bedroom wall?” “No! And not Cindy Crawford, either. They did both come to tea at the palace, though, and were very nice.” William had been photographed the previous week at a party at the Hammersmith Palais, where he was mobbed by young girls. I asked him if he’d had fun. “Everyone in the press said I was snogging these girls, but I wasn’t,” he insisted. Diana laughed. “One said you stuck your tongue down her throat, William. Did you?” “No, I did not. Stop it, Mummy, please. It’s embarrassing.” He’d gone puce. It was a very funny exchange, with a flushed William finally insisting: “I won’t go to any more public parties; it was crazy. People wouldn’t leave me alone.” Diana laughed again. “All the girls love a nice prince.” I turned to more serious matters. “Do you think Charles will become king one day?” “I think he thinks he will,” replied Diana, “but I think he would be happier living in Tuscany or Provence, to be honest.” “And how are you these days--someone told me you’ve stopped seeing therapists?” “I have, yes. I stopped when I realized they needed more therapy than I did. I feel stronger now, but I am under so much pressure all the time. People don’t know what it’s like to be in the public eye, they really don’t.

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

We don’t have to wait until something is lost or ending to enjoy it now. We can find reminders to help us pause and savor. I like to use pictures or quotes in my office or on my bathroom mirror, file cabinet, or refrigerator. It could be a ring you wear or a special coin you keep in your pocket. Maybe it’s a book, card, or poster that helps you pause and reflect.

To assess the success of the Sistine, we must think in terms of its history, its prime architects, and its contemporary relevance. What was it first meant to be? What were its functions over the course of time—practically, spiritually, and conceptually? Perhaps most meaningful of all, we need to ask: what did Michelangelo want the Sistine to teach humanity? What was his vision for it—not only for his time but for posterity? Did he succeed?

The first basic income pilot in a developing country was implemented in the small Namibian village of Otjivero-Omitara in 2008–9, covering about 1,000 people.40 The study was carried out by the Namibian Basic Income Grant Coalition, with money raised from foundations and individual donations. Everyone in the village, including children but excluding over-sixties already receiving a social pension, was given a very small basic income of N$100 a month (worth US$12 at the time or about a third of the poverty line), and the outcomes compared with the previous situation. The results included better nutrition, particularly among children, improved health and greater use of the local primary healthcare centre, higher school attendance, increased economic activity and enhanced women’s status.41 The methodology would not have satisfied those favouring randomized control trials that were coming into vogue at the time. No control village was chosen to allow for the effects of external factors, in the country or economy, because those directing the pilot felt it was immoral to impose demands, in the form of lengthy surveys, on people who were being denied the benefit of the basic income grants. However, there were no reported changes in policy or outside interventions during the period covered by the pilot, and confidence in the results is justified both by the observed behaviour, and by recipients’ opinions in successive surveys. School attendance went up sharply, though there was no pressure on parents to send their children to school. The dynamics were revealing. Although the primary school was a state school, parents were required to pay a small fee for each child. Before the pilot, registration and attendance were low, and the school had too little income from fees to pay for basics, which made the school unattractive and lowered teachers’ morale. Once the cash transfers started, parents had enough money to pay school fees, and teachers had money to buy paper, pens, books, posters, paints and brushes, making the school more attractive to parents and children and raising the morale and, probably, the capacity of its teachers. There was also a substantial fall in petty economic crime such as stealing vegetables and killing small livestock for food. This encouraged villagers to plant more vegetables, buy more fertilizer and rear more livestock. These dynamic community-wide economic effects are usually overlooked in conventional evaluations, and would not be spotted if cash was given only to a random selection of individuals or households and evaluated as a randomized control trial. Another outcome, unplanned and unanticipated, was that villagers voluntarily set up a Basic Income Advisory Committee, led by the local primary school teacher and the village nurse, to advise people on how to spend or save their basic income money. The universal basic income thus induced collective action, and there was no doubt that this community activism increased the effectiveness of the basic incomes.

The artist doesn't have to concern themselves with posterity because, ultimately, the audience will decide. Our only option is to do the best we can here and now.

And now what shall we say of human beings? What is to be our definition of Man? Like the animals, human beings do indeed possess the space-binding capacity but, over and above that, human beings possess a most remarkable capacity which is entirely peculiar to them—I mean the capacity to summarise, digest and appropriate the labors and experiences of the past; I mean the capacity to use the fruits of past labors and experiences as intellectual or spiritual capital for developments in the present; I mean the capacity to employ as instruments of increasing power the accumulated achievements of the all-precious lives of the past generations spent in trial and error, trial and success; I mean the capacity of human beings to conduct their lives in the ever increasing light of inherited wisdom; I mean the capacity in virtue of which man is at once the heritor of the by-gone ages and the trustee of posterity. And because humanity is just this magnificent [pg 060] natural agency by which the past lives in the present and the present for the future, I define humanity, in the universal tongue of mathematics and mechanics, to be the time-binding class of life.

Hale may be known to posterity as a man of one story, and that story “The Man Without a Country.” This powerful and pathetic narrative was produced while the country was in the throes of the Civil War, and it embodied as no other literary production did the sentiment of loyalty to the Union. It was a stroke of genius to attempt this, not by the picture of heroic achievement in the battle field, but by the long-drawn-out chronicle of the life of a man to whom existence is an aching void because of the absolute severance of all national ties. The effect is intensified by the matter-of-fact tone of the narrative. So successful is the realistic method that it is difficult to believe it is not a historical incident that is described; and the restraint with which the slow agony of Nolan is pictured increases the power with which the lesson of patriotism is brought home. Nor is it merely American patriotism that is inculcated; for the impression of truth to human nature that is conveyed is such that it bears its message to the men of all nations.

She noticed that even after they were married, they didn’t behave like the married folk Hazel knew. Often, Myron would chase her around the house he built for her, Hazel’s laughter filling the home, until he had successfully tackled her on their four-poster bed. Sometimes, Hazel would stay up waiting for Myron after a late shift, and they’d sit at the kitchen booth over cigarettes and drink coffee and talk of things to come.

Tom Durrie (b. 1931) is a school critic, a nonagenarian giant, and a poster boy for longevity and vitality of a happy brain. His biography is rich beyond description, and reflects Durrie's infinite passion for life. His CV would suffice to fill in a few lifetimes, and is the best testimony that a rich and productive life is a self-sustaining process. Inspired by A.S. Neill (Summerhill 1960), Durrie found his own formula for free learning. Durrie has tried teaching in traditional and in alternative schools (for a sum total of over a decade). He was also a headmaster of a free school for a while. In 1966, the analysis of his teaching experience provides a unique insight into the impact of freedom on behavior and mental health of students. His text, published 54 years late (2020), can be found here: "Free learning in a public school". Durrie's three successful children received minimal schooling. None attended high school. Over decades of his analysis and interests, Durrie noticed cyclical processes, in which the school system tightens its grip on children and then enters a period of rebellion, and seeking new solutions only to fall back again into its hungry propensity for limiting child freedoms.

More than half of the Christian Democrats’ funds came from the United States. According to the Church report, the CIA, besides supporting the Christian Democrats, “mounted a massive anti-Communist propaganda campaign. Extensive use was made of the press, radio, films, pamphlets, posters, leaflets, direct mailings, paper streamers and wall painting.” In the first week of the CIA’s efforts, in June 1964, the agency produced 20 radio spots a day in Santiago and 12-minute news reports broadcast five times a day on three different Santiago stations. Activities in the provinces were even more extensive. To those inclined to react with indignation or outrage at Washington’s interventions, it is important to point out that Chile was hardly virgin territory whose purity was violated only by the intrusive, predatory United States. The Soviet Union and Cuba were doing their utmost to back Allende. If virtue was defined by a lack of foreign intervention, then nobody, inside Chile or out, could be said to be clothed in virtue. But even if critics are reluctant to celebrate it, the American covert effort can be seen as one of the great foreign policy success stories of the 1960s: Frei won the election with 56 percent of the vote compared to 39 percent for Allende. Afterward, Frei thanked the Americans for their help, though almost no one, including Frei himself, knew just how extensive that help was. The CIA, which did know, congratulated itself as one of the “indispensable ingredients in Frei’s success.

The dramatic meeting, Louis’s “we are not an iceberg” speech, Buddy’s storytelling about the seagull, the countless ice-posters, and the talking circles began to have the desired effect. Many birds, though hardly all, came to see and accept what they had to do. Complacency, fear, and confusion continued to decrease. What had started out with a threat had turned, at least in a number of bird heads and hearts, into an opportunity. Optimism and excitement grew. Communicating the new vision of a nomadic life, of a very different future, was for the most part remarkably successful.

Ever seen a great champion boxer like Manny Pacquiao? With his speed, agility and power, he has conquered lots of other great boxers of the twenty first century. In between fights, he keeps his training regime and intensifies it when another fight approaches. 카톡☎ppt33☎ 〓 라인☎pxp32☎ 홈피는 친추로 연락주세요 바오메이파는곳,바오메이가격,바오메이구입방법,바오메이구매방법,팔팔정판매사이트,구구정판매사이트 Just like a boxer, we, too come face to face with many opponents in the arena of life—problems and difficulties. The bad news is, we don’t really know when our bouts with these opponents occur—no posters and promotional TV commercials; no pre-fight Press Conference and weigh in to make sure that we measure up to our opponent; and there is no Pay Per View coverage. Here are several reasons why you should train yourself for success like a champion boxer! You don’t practice in the arena, that’s where your skills and your abilities are evaluated. This also means that you don’t practice solving problems and developing yourself when problems occur, you prepare yourself to face them long before you actually face them. Talent is good but training is even better. Back in college, one of my classmates in Political Science did not bring any textbook or notebook in our classes; he just listened and participated in discussions. What I didn’t understand was how he became a magna cum laude! Apparently, he was gifted with a great memory and analytical skills. In short, he was talented. If you are talented, you probably need less preparation and training time in facing life’s challenges. But for people who are endowed with talent, training and learning becomes even important. Avoid the lazy person’s maxim: “If it isn’t broken, why fix it?” Why wait for your roof to leak in the rainy season when you can fix it right away. Training enables you to gain intuition and reflexes. Malcolm Glad well, in his book Outliers, said those artists, athletes and anyone who wants to be successful, need 10,000 hours of practice to become really great. With constant practice and training, you hone your body, your mind and your heart and gain the intuition and reflexes of a champion. Same thing is true in life. Without training, you will mess up. Without training, you will not be able to anticipate how your enemy will hit you. You will trip at that hurdle. Your knees will buckle before you hit the marathon’s finish line. You will lose control of your race car after the first lap. With training, you lower the likelihood of these accidents Winners train. If you want to win, train yourself for it. You may be a lucky person and you can win a race, or overcome a problem at first try. But if you do not train, your victory may be like a one-time lottery win, which you cannot capitalize on over the long run. And you become fitter and more capable of finishing the race. Keep in mind that training is borne out of discipline and perseverance. Even if you encounter some setbacks in your training regime, if you keep at it and persevere, you will soon see results in your life and when problems come, you will be like the champion boxer who stands tall and fights until the final round is over and you’re proclaimed as the champion!

Your time is limited, so don't waste it living someone else's life. 카톡►ppt33◄ 〓 라인►pxp32◄ 홈피는 친추로 연락주세요 Design is not just what it looks like and feels like. Design is how it works. 엠빅스판매,엠빅스가격,엠빅스구입,엠빅스구매,엠빅스파는곳,엠빅스팝니다,엠빅스구입방법,엠빅스구매방법,엠빅스판매사이트 We're here to put a dent in the universe. Otherwise why else even be here? 발기부족으로 삽입시 조루증상 그리고 여성분 오르가즘늦기지 못한다 또한 페니션이 작다고 느끼는분들 이쪽으로 보세요 팔팔정,구구정,비닉스,센트립,네노마정,프릴리지,비맥스,비그알엑스 등 아주 많은 좋은제품들 취급하고 단골님 모시고 있는곳입니다.원하실경우 언제든 연락주세요 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. 아무런 말없이 한번만 찾아주신다면 뒤로는 계속 단골될 그런 자신 있습니다.저희쪽 서비스가 아니라 제품에대해서 자신있다는겁니다 팔팔정,구구정,네노마정,프릴리지,비맥스,비그알엑스,엠빅스,비닉스,센트립 등 많은 제품 취급합니다 확실한 제품만 취급하는곳이라 언제든 연락주세요 Being the richest man in the cemetery doesn't matter to me ... Going to bed at night saying we've done something wonderful... that's what matters to me. I want to put a ding in the universe. Quality is more important than quantity. One home run is better than two doubles. Just like a boxer, we, too come face to face with many opponents in the arena of life—problems and difficulties. The bad news is, we don’t really know when our bouts with these opponents occur—no posters and promotional TV commercials; no pre-fight Press Conference and weigh in to make sure that we measure up to our opponent; and there is no Pay Per View coverage. Here are several reasons why you should train yourself for success like a champion boxer! You don’t practice in the arena, that’s where your skills and your abilities are evaluated. This also means that you don’t practice solving problems and developing yourself when problems occur, you prepare yourself to face them long before you actually face them. Talent is good but training is even better. Back in college, one of my classmates in Political Science did not bring any textbook or notebook in our classes; he just listened and participated in discussions. What I didn’t understand was how he became a magna cum laude! Apparently, he was gifted with a great memory and analytical skills. In short, he was talented.

He was a very private person, unemotional and undemonstrative in public. To a great degree he was unconcerned about his image, caring little for “glory” in the conventional sense. His gods were logic and reason. The character of Mr. Spock in the popular science-fiction series“Star Trek” could easily have been patterned after Spruance. The admiral competed not with others but with his own impossibly high selfexpectations, and that is the way he judged his successes and failures. A man who relied on deeds rather than words to make his mark, Spruance seemed oblivious to what posterity would think of him. He did not like to speak publicly, nor did he do much writing if he could avoid it. He authored no wordy, self-justifying memoirs. His achievements, intellect, and integrity were responsible for the great respect accorded him by his peers.

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.

One thing more makes these men and women from the age of wigs, swords, and stagecoaches seem surprisingly contemporary. This small group of people not only helped to end one of the worst of human injustices in the most powerful empire of its time; they also forged virtually every important tool used by citizens’ movements in democratic countries today. Think of what you’re likely to find in your mailbox—or electronic mailbox—over a month or two. An invitation to join the local chapter of a national environmental group. If you say yes, a logo to put on your car bumper. A flier asking you to boycott California grapes or Guatemalan coffee. A poster to put in your window promoting this campaign. A notice that a prominent social activist will be reading from her new book at your local bookstore. A plea that you write your representative in Congress or Parliament, to vote for that Guatemalan coffee boycott bill. A “report card” on how your legislators have voted on these and similar issues. A newsletter from the group organizing support for the grape pickers or the coffee workers. Each of these tools, from the poster to the political book tour, from the consumer boycott to investigative reporting designed to stir people to action, is part of what we take for granted in a democracy. Two and a half centuries ago, few people assumed this. When we wield any of these tools today, we are using techniques devised or perfected by the campaign that held its first meeting at 2 George Yard in 1787. From their successful crusade we still have much to learn. If, early that year, you had stood on a London street corner and insisted that slavery was morally wrong and should be stopped, nine out of ten listeners would have laughed you off as a crackpot. The tenth might have agreed with you in principle, but assured you that ending slavery was wildly impractical: the British Empire’s economy would collapse. The parliamentarian Edmund Burke, for example, opposed slavery but thought that the prospect of ending even just the Atlantic slave trade was “chimerical.” Within a few short years, however, the issue of slavery had moved to center stage in British political life. There was an abolition committee in every major city or town in touch with a central committee in London. More than 300,000 Britons were refusing to eat slave-grown sugar. Parliament was flooded with far more signatures on abolition petitions than it had ever received on any other subject. And in 1792, the House of Commons passed the first law banning the slave trade. For reasons we will see, a ban did not take effect for some years to come, and British slaves were not finally freed until long after that. But there was no mistaking something crucial: in an astonishingly short period of time, public opinion in Europe’s most powerful nation had undergone a sea change. From this unexpected transformation there would be no going back.

Learn to live from inside to outside, bring out those magnificent estates within you and live in them.

Live on your good thoughts and they will manifest outwardly.

Kind and lovely thought originate from God while evil and revengeful thoughts are initiated by the devil.

Wrong thoughts pattern your life towards it for we live our thoughts.

Your life today and tomorrow is patterned alongside your thoughts. You are therefore advised to create good and wonderful thoughts today so they will deliver a beautiful tomorrow for you.

You can cream your dream by enriching your thought with clean and desirable things.

Your future will definitely head to the same direction with your thoughts; this is why planning your thought is so important.

You cannot be different from your thought!

We are advised to meditate on things that are true, lovely, noble, gracious and bring good report. These should form the basis of our thought pattern.

Structure your thought pattern to what you want to achieve and who you want to become.

Use the powerful tool of thought and develop your mindset to believing and knowing you can change anything to your favour; yes, you have God`s Word so fashion your thought according to God`s Word.

You create and plan your thought by seeing, reading and hearing the right things.

Choose your thoughts, carve them in your mind and fix your gaze on them always.

Wrong thinking will take your life the wrong way, channeling your thoughts to the right direction will cause you to soar in life.

Our thoughts create our lifestyle, if you live healthy, it means you think healthy thoughts and if you think unhealthy thoughts, it will reflect in your health and lifestyle too.

I read his rather prosaic-sounding name for the first time in that moment, but some years ago I vowed to stop using it. This is no symbolic abstinence on my part- his name has been said enough and ours forgotten, yada yada. I mean, sure, fine, that can be part of it, but who I want you to remember, every time I say The Defendant, not him but the twenty-two-year-old court reporter dressed for success in a pussy-bow blouse. She was the one who recorded him in the official transcripts not by his government name, like the licensed attorney on the case, but by the two most honest letter combinations her sensitive ear and flying fingers could produce: The Defendant. What people forget, or rather what the media decided muddied the narrative, is that although The Defendant would go on to represent himself at is murder trial, he was never a lawyer. Any Joe off the stree can fly pro se, litigate their own case, without graduating from law school or passing the bar. But it made for a more salable story if he was portrayed as someone who did not have to kill to get his kicks, who had prospects in his romantic life and his career. To this day, I revere that scrubbed-face court reporter, younger than me by only a year, because she is one of the sacred few who did her job without so much as a sliver of an agenda. The truth of what happened lies in those transcripts, where he is The Defendant and he is full of bullshit. On the Wanted poster I held in my hands that ding afternoon in Tina’s rental car, The Defendant peered back at me with black vacant eyes. They are scary eyes, don’t get me wrong, but what frightens me, what infuriates me, is that there isn’t anything exceptionally clever going on behind them. A series of national ineptitudes and a parsimonious attitude toward crimes against women created a kind of secret tunnel through which a college dropout with severe emotional disturbances moved with impunity for the better part of the seventies. Law enforcement would rather we remember a dull man as brilliant than take a good hard look at the role they played in this absolute sideshow, and I am sick to death of watching them in their pressed shirts, and cowboy boots, in their comfortable leather interview chairs, in hugely successful and critically acclaimed crime documentaries, talking about the intelligence and charm and wiliness of an ordinary misogynist. This story is not that. The story is not that.

In the eyes of posterity, the success of the United States as a civilized society will be largely judged by the creative activities of its citizens in art, architecture, literature, music, and the sciences.

And, furthermore, I tell you frankly that I don’t resign myself to unhappiness, nor do I bow my head to destiny, nor do I come to terms with it, as other men do; and I dare desire death, and desire it above everything else, with such ardor and such sincerity as I believe it is desired in this world only by a very few. I would not speak to you in this manner if I were not completely certain that, when the hour comes, the facts will not belie my words; for, although I don’t see yet an end to my life, I have a profound feeling which almost assures me that this hour is not far off. I am too ripe for death; and I think it to be too absurd and incredible for me—so dead I am spiritually, so altogether concluded as the fable of life is for me in all its parts—to have to last for another forty or fifty years, that is as many as Nature threatens me with. At the mere thought of this I shudder. But as happens with all those, evils, which go beyond, so the speak, the power of imagination, so this seems to be like a dream and an illusion, impossible to realize. Indeed, if someone talks to me about the distant future as of something belonging to me, I can’t help but smile to myself—so confident am I that the space of life remaining to me is not long. And this, I can say, it is the only thought that sustains me. Books and studies, which I am often surprised I have loved so much, projects of great deeds, and hopes of glory and immortality are all things at which I can no longer even laugh. At the hopes and the projects of this century I don’t laugh; with all my soul I wish them the greatest possible success, and highly and most sincerely do I praise, admire and honor their good intentions; however, I don’t envy posterity, nor those who still have long to live. In the past I used to envy the fools and the stupid, and those who have a high opinion of themselves; and I would have gladly changed places with one of them. Now I envy neither the stupid nor the wise, neither the great nor the small, neither the weak nor the powerful. I envy the dead, and only with them I would change places. Every pleasant fantasy, every thought of the future in which I indulge, as happens, in my solitude, and with which I spend my time, consists of death, and nothing else. And in this desire I am no longer troubled, as I used to be, by the memory of dreams of my early age and by the thought of having lived in vain. If I obtain death, I will die so peaceful and so content as if I had never hoped for, or desired, anything else in the world. This is the only good that can reconcile me with destiny. If I were offered, on one hand, the fortune and the fame of Caesar or Alexander, pure of all stains, and, on the other, to die today, and if I were to make a choice, I would say, to die today, and I would not want to think it over.

Diplomats, anonymity of: "In general, diplomats, unlike soldiers, are not fussed over by historians, who barely mention their names; the secrecy of negotiations, so often disputed by their contemporaries, is largely forgiven in the silence of posterity." — Jules Cambon, 1926 Diplomats, best: "The man who becomes intensely interested in what he finds at his diplomatic post, people or landscape, or even historical documents, is the best diplomat. He is a successful diplomat because the people ... appreciate his interest in them and trust him accordingly. After he has shown an enthusiasm for the local scene ... he is in a far better position to represent his own country effectively." — E. Wilder Spaulding, 1961 Diplomats, best: "The best diplomat is he who, insipred solely by cold reason, ask himself only what he can obtain and how he will arrive at it." — Gyula Szillassy, 1928 Diplomats, best and worst: "The worst kind of diplomatists are missionaries, fanatics and lawyers; the best kind are reasonable and humane skeptics. Thus it is not religion which has been the main formative influence in diplomatic theory; it is common sense." — Harold Nicolson, 1939 Diplomats, chameleons: Diplomats are a species of chameleon; they blend in most of the time but puff themselves up in a brilliant display when required. Diplomats, estrangement from compatriots: "Diplomacy calls for gifts that are as seemingly incogruous as cynicism and courtesy, sophistication and sincerity, and decisiveness and patience. The diplomat is the bearer of a view of the outside world which his fellow citizens cannot entirely follow or accept." — Kenneth W. Thompson, 1962