Sponsor Inspiring Quotes

To become a better you, remember to be grateful to people who have contributed to making you who you are today.

Network marketing is not for everyone, NOT EVERYONE has goals. Stop trying to make everyone around you goal-oriented.

Real Discipline: Wanting something, understanding why you want it, and then making a conscious and unwavering decision to abstain because you don’t need it. Fake Discipline: Wanting something, not fully understanding why you want it so bad, and trying to hold out using willpower to fight the must have feeling.

I WILL FOLLOW ANYONE AND TELL EVERYONE HOW THEY SPONSOR... THE KILLING OF THE YAZIDI NATION

Sponsor said relationships are fertilizer for character defects. I thought about it, prayed about it, and agreed. I guess it's better to minimize damage, adopt a sane and sound ideal, and buy pussy from now on.

If you need some inspiration to push back against those sponsors, consider the case of George Lucas. When he was filming the original Star Wars, he wanted a bold launch for his movie. The Directors Guild of America protested. Most films at the time started by naming the writer and director in the opening title sequence—in this case, thanking the film’s creators rather than its sponsors. It was how things were done. Despite the protests of the Directors Guild, Lucas decided to forgo opening credits entirely. The result was one of the most memorable beginnings in movie history. And he paid for it—the Directors Guild fined him $250,000 for his daring. His loyalty was to his audience’s experience, and he was willing to sacrifice for it. You should be, too.

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

Firstly, the Azerbaijanian struggle for a measure of autonomy and self-government is genuine and is locally inspired. The facts of history and existing conditions show that Azerbaijan has always been struggling to overthrow the feudal conditions imposed upon it (and upon the rest of Iran) by corrupt Iranian Governments. Secondly, the extent of Russian interference appeared to be negligible. In our travels we saw few Russian troops, and in Kurdistan we saw none at all. The leaders of the Azerbaijanian Government are not Russians but Azerbaijanians, and with few exceptions their sole aim seems to be the recovery and improvement and economic reform of Azerbaijan. There may be some Russian influence by indirect means, but I would suggest that it is less than our own influence in Iran which we exercise by direct control of ministers, political parties, state financiers, and by petty bribery. As for Kurdish Independence. The Kurds ask for an independence of their own making, not an independence sponsored by the British Government. Like the Azerbaijanians the Kurds are seeking real autonomy, and more than that, self-determination. Our present scheme to take them over and use them as a balancing factor in the political affairs of the Middle East is a reflection upon the honest of our intentions, and a direct blow at the spirit of all good men.

There is safety in learning doctrine in gatherings which are sponsored by proper authority. Some members, even some who have made covenants in the temple, are associating with groups of one kind or another which have an element of secrecy about them and which pretend to have some higher source of inspiration concerning the fulfillment of prophecies than do ward or stake leaders or the General Authorities of the Church. Know this: There are counterfeit revelations which, we are warned, “if possible . . . shall deceive the very elect, who are the elect according to the covenant.” (JS—M 1:22.) . . . For the past several years we have watched patterns of reverence and irreverence in the Church. While many are to be highly commended, we are drifting. We have reason to be deeply concerned. The world grows increasingly noisy. Clothing and grooming and conduct are looser and sloppier and more disheveled. Raucous music, with obscene lyrics blasted through amplifiers while lights flash psychedelic colors, characterizes the drug culture. Variations of these things are gaining wide acceptance and influence over our youth. . . . This trend to more noise, more excitement, more contention, less restraint, less dignity, less formality is not coincidental nor innocent nor harmless. The first order issued by a commander mounting a military invasion is the jamming of the channels of communication of those he intends to conquer. Irreverence suits the purposes of the adversary by obstructing the delicate channels of revelation in both mind and spirit.

One other thing. And that's all. I promise you. But the thing is, you raved and you bitched when you came home about the stupidity of audiences. The goddam `unskilled laughter' coming from the fifth row. And that's right, that's right - God knows it's depressing. I'm not saying it isn't. But that's none of your business, really. That's none of your business, Franny. An artist's only concern is to shoot for some kind of perfection, and *on his own terms*, not anyone else's. You have no right to think about those things. I swear to you. Not in any real sense, anyway. You know what I mean?" ... The voice at the other end came through again. "I remember about the fifth time I ever went on `Wise Child'. I subbed for Walt a few times when he was in a cast - remember when he was in the case? Anyway. I started bitching one night before broadcast. Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again - all the years you and I were on the program together, if you remember. I don't think I missed more than just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my mind. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and - I don't know. Anyway, seemed goddam clear why Seymour wanted me to shine my shoes when I went on air. It made *sense*." ... "... Let me tell you something now, buddy ... Are you listening?" ... "I don't care where an actor acts. It can be in summer stock, in can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret - Are you listening to me? *There isn't anyone out there who isn't Seymour's Fat Lady.* That goddam cousins by the dozens. There isn't anyone *any*where that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know - listen to me, now - *don't you know who that Fat Lady really is?*... Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.

One other thing. And that's all. I promise you. But the thing is, you raved and you bitched when you came home about the stupidity of audiences. The goddam `unskilled laughter' coming from the fifth row. And that's right, that's right - God knows it's depressing. I'm not saying it isn't. But that's none of your business, really. That's none of your business, Franny. An artist's only concern is to shoot for some kind of perfection, and *on his own terms*, not anyone else's. You have no right to think about those things. I swear to you. Not in any real sense, anyway. You know what I mean?" ... The voice at the other end came through again. "I remember about the fifth time I ever went on `Wise Child'. I subbed for Walt a few times when he was in a cast - remember when he was in the case? Anyway. I started bitching one night before broadcast. Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again - all the years you and I were on the program together, if you remember. I don't think I missed more than one just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my time. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and - I don't know. Anyway, seemed goddam clear why Seymour wanted me to shine my shoes when I went on air. It made *sense*." ... "... Let me tell you something now, buddy ... Are you listening?" ... "I don't care where an actor acts. It can be in summer stock, in can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret - Are you listening to me? *There isn't anyone out there who isn't Seymour's Fat Lady.* That goddam cousins by the dozens. There isn't anyone *any*where that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know - listen to me, now - *don't you know who that Fat Lady really is?*... Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.

One other thing. And that's all. I promise you. But the thing is, you raved and you bitched when you came home about the stupidity of audiences. The goddam `unskilled laughter' comming from the fifth row. And that's right, that's right - God knows it's depressing. I'm not saying it isn't. But that's none of your business, really. That's none of your business, Franny. An artist's only concern is to shoot for some kind of perfection, and *on his own terms", not anyone else's. You have no right to think about those things. I swear to you. Not in any real sense, anyway. You know what I mean?" ... The voice at the other end came through again. "I remember abouut the fifth time I ever went on `Wise Child'. I subbbed for Walt a few times when he was in a cast - remember when he was in the case? Anyway. I started bitching one night before broadcast. Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I sais they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again - all the years you and I were on the program together, if you remember. I don't think I missed more than one just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my time. I had her sitting on this porch all day, swatting flies, with her radio goin full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and - I don't know. Anyway, seemed goddam clear why Seymour wanted me to shine my shoes when I went on air. It made *sense*." ... "... Let me tell you something now, buddy ... Are you listening?" ... "I don't care where an actor acts. It can be in summer stock, in can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret - Are you listening to me? *There isn't anyone out there who isn't Seymour's Fat Lady.* That goddam cousins by the dozens. There isn't anyone *any*where that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know - listen to me, now - *don't you know who that Fat Lady really is?*... Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.

State sponsored medicine and science can function as ideology, inspiring blind commitment, fanatical defensiveness and denial, particularly of outcomes inconsistent with the preferred explanatory model. The social etiology of compromised health, insists on an understanding of these conditions and the way they impact the objectivity or neutrality of scientific and medical interpretation.

Post-Rehab Advice: 5 Things to Do After Getting Out of Rehab Getting yourself into rehab is not the easiest thing to do, but it is certainly one of the most important things you can ever do for your well-being. However, your journey to self-healing does not simply end on your last day at rehab. Now that you have committed your self to sobriety and wellness, the next step is maintaining the new life you have built. To make sure that you are on the right track, here are some tips on what you should do as soon as you get back home from treatment. 1. Have a Game Plan Most people are encouraged to leave rehab with a proper recovery plan. What’s next for you? Envision how you want yourself to be after the inpatient treatment. This is a crucial part of the entire recovery process since it will be easier to determine the next phase of treatment you need. 2. Build Your New Social Life Finishing rehab opens endless opportunities for you. Use it to put yourself out in the world and maybe even pursue a new passion in life. Keep in mind that there are a lot of alcohol- and drug-free activities that offer a social and mental outlet. Meet new friends by playing sports, taking a class or volunteering. It is also a good opportunity for you to have sober friends who can help you through your recovery. 3. Keep Yourself Busy One of the struggles after rehab is finding purpose. Your life in recovery will obviously center on trying to stay sober. To remain sober in the long term, you must have a life that’s worth living. What drives you? Begin finding your purpose by trying out things that make you productive and satisfied at the same time. Get a new job, do volunteer work or go back to school. Try whatever is interesting for you. 4. Pay It Forward As a person who has gone through rehab, you are in the perfect place to help those who are in the early stages of recovery. Join a support group and do not be afraid to tell your story. Reaching out to other recovering individuals will also help keep your mind off your own struggles, while being an inspiration to others. 5. Get Help If You’re Still Struggling Research proves that about half of those in recovery will relapse, usually within the treatment’s first few months. However, these numbers do not necessarily mean that rehab is a waste of time. Similar to those with physical disabilities who need continuous therapy, individuals recovering from addiction also require ongoing support to stay clean and sober. Are you slipping back to your old ways? Do not let pride or shame take control of your mind. Life throws you a curveball sometimes, and slipping back to old patterns does not mean you are hopeless. Be sure to have a sober friend, family, therapist or sponsor you could trust and call in case you are struggling. Remember that building a drug- and alcohol-free life is no walk in the park, but you will likely get through it with the help of those who are dear to you.

... how can we in all good conscience appease terrorists and terrorist sponsoring states that seek to acquire weapons of mass destruction? How can we appease those very terrorists whose avowed goal is to kill Americans? To destroy the West and all it stands for?

To understand how revolutionary Pasteur’s contributions were, consider the previously popular ideas that attempted to explain why people got sick. For nearly two thousand years, the medical profession believed that four different bodily fluids—blood, phlegm, yellow bile, and black bile—dominated the health and moods of people. When they were in harmony, all was right with the world. When they were out of sync, people fell ill or into “bad humor.” The theory was known as humorism. Doctors were never quite certain what caused imbalance among these humors—ideas ranged from seasons to diet to evil spirits. So they experimented by trial and error to restore the necessary harmony of fluids—often with now seemingly barbaric methods such as bloodletting, which at the time was said to remedy hundreds of diseases. Sometimes, people got better. But most of the time, they got worse. And doctors were never sure why. By the nineteenth century, people began to blame disease on “miasmas” or “bad airs” that floated around dangerously. As hare-brained as it sounds today, “miasma theory” was actually an improvement over humorism because it spawned sanitary reforms that had the effect of removing real disease agents—bacteria. For example, in 1854, when cholera gripped London, the miasma explanation inspired massive, state-sponsored clearing of the air by draining cesspools. A physician of the time, John Snow, was able to isolate the pattern of new cholera cases and to conclude that new cases correlated to proximity to a specific water pump on Broad Street. Disease, he concluded, correlated with that pump—and therefore cholera was not transmitted through miasma, but likely through contaminated water. Snow’s work saved countless lives—and he has subsequently been recognized as one of the most important physicians in history. But while an improvement, Snow’s analysis still didn’t get to the root cause of what actually made those people sick.

Be transparent, but use wisdom. Everybody can’t handle the raw and uncut version of who you were and even who you presently are.

If you fail to build YOU, the company you used YOU to sell its products or services will definitely drop you when your value has diminished, and nothing will remain of you, except you've built more values into you!

The lack of knowledge on the part of followers perpetuates a culture of abuse by bad leadership. Every day, issues are being endorsed in the name of standing for the ignorant masses, only to benefit those who sponsor the agendas. Priorities are set and resources allocated, never to benefit or reach those cited as the underlying justification for sourcing the funds or setting the priorities.

HEART OF ICE FROZEN HOT CHOCOLATE While Katniss and Peeta normally enjoy hot chocolate, this frozen version is a worthy substitute for hot cocoa on a warm, sunny day. (The Hunger Games, Chapter 4) Yields 1 serving 6 ounces high-quality semisweet chocolate 1 teaspoon vanilla extract 3 teaspoons high-quality hot chocolate mix 2 tablespoons sugar 11⁄2 cups half and half 2 cups ice Whipped cream (for garnish) Chocolate shavings (for garnish) Tips from Your Sponsor For a mint-chocolate taste, try adding 1⁄2 teaspoon of mint extract. Or, for a sweeter taste, mix together 3 ounces white chocolate and 3 ounces semisweet chocolate in place of the 6 ounces semisweet. Chop the chocolate into small pieces and gently melt in a heavy saucepan, stirring constantly until

PEETA’S BUTTERCREAM FROSTING Peeta is quite skilled when it comes to frosting and decorating his family’s bakery cakes. This buttercream frosting can be used for cakes, cupcakes, or any dessert concoction, and is likely used by Peeta for many of the desserts that Prim and Katniss admired in the bakery window. (The Hunger Games, Chapter 7) Yields about 8 cups 11⁄2 cups shortening 1⁄2 cup (1 stick) butter 8 cups confectioners’ sugar 1 teaspoon salt 3 teaspoons clear imitation vanilla extract 3⁄4 cup heavy cream Tips from Your Sponsor The flavor of clear imitation vanilla extract pales in comparison to natural vanilla extract. However, for a white frosting, clear imitation vanilla extract is a must, as real vanilla extract is a light brown color. Using an electric mixer, cream shortening and

There should always be a deliberate crafting and packaging of the words you speak so that they produce the kind of results you desire. Enough research has been done in every religion and belief system to support the truth that words have power to create or destroy. This is the reason why all major religions say their prayers. However, your words can only be as powerful and as effective as their sponsor. The words must possess the right substance.

The trusted quality and power of the believed sponsor of your words will have a big impact on the power released in and through your words. You should have sufficient sponsorship to counter the kind of words you do not want to influence your life, thoughts and mission. Contrary words and convincing voices will encounter you on the route to your destiny and they need to be countered with strong conviction and authority.

Do not be cursed by documented findings and so-called facts; invention itself is not yet an antique for the museum. Not every voice has the right to sponsor your beliefs and words.

Above all, there was a belief in the revolution and the future, a feeling of having suddenly emerged into an era of equality and freedom. This is what we’re after. This is worth giving up the rooting-tooting boots for: belief, togetherness, equality. This is why people get obsessed with festivals, or clubs, or drugs, or football, or other temporal approximations of togetherness; these distilled vials of the elixir are craved by our starved souls. I’m as materialistic as the next man, probably more, given that the next man is George Orwell, and I am prepared to relinquish my trinkets for a shot at living in that ramshackle paradise. Human beings were trying to behave as human beings and not as cogs in the capitalist machine. Orwell wrote this in the mid-thirties. Consider how radically capitalism has advanced since then. In his great dystopian fiction 1984, Orwell described a totalitarian regime where humans were constantly observed, scrutinized, and manipulated, where freedom had been entirely eroded, omnipotent institutions dominated, and every home glowed with the mandatory TV screen streaming state-sponsored data. Well, he was spot on, aside from a bit of glitter and the fact that we voluntarily install our own screens. Orwell saw this brief period in Spanish history as a potential template for an alternative future. Ordinary workers took over their businesses and factories and ran them democratically. Naturally, they were brutally massacred by a multitude of enemies—the fascists, communists, and liberal democracies all coiled about them in a terrified asphyxiating clench. I’d never heard of this Revolution. The reason for this is, of course, that it’s so fucking inspiring. The Revolutions that we’re taught about are ones that wind neatly back to repression of one flavor or another and convey the bleak, despairing narrative that makes the forms of impoverishment we live with now, whether financial or spiritual, seem preferable. No one, absolutely no one, will tell you that an alternative is possible, and the ways and means are strewn all about us. A lot of other political struggles and social uprisings labeled “Revolutions” are, in my mind, unworthy of the term, in that they were simply a hegemonic exchange. Whether it’s the Russian Revolution, which led to Stalinism, or the American Revolution, which led to corporate oligarchy. The Revolution we advocate ought to have two irrefutable components: 1) nonviolence, and 2) the radical improvement of the quality of life for ordinary people.

The ideal team purpose process should… The ideal team purpose should… ​–​energize ​–​inspire ​–​include robust dialogue ​–​demonstrate patience ​–​be emotionally demanding ​–​help reveal discrepancies and conflicts in team members’ roles (Wageman et al, 2008) ​–​be clear/give clarity ​–​be challenging ​–​be consequential (Wageman et al, 2008; Hackman, 2011) ​–​take time ​–​take effort ​–​be a joint creation (Katzenbach and Smith, 1993, 1993b) ​–​provide meaning beyond making money ​–​be aspirational as opposed to preventative and reactive ​–​energize others ​–​encourage collective responsibility ​–​(Edmondson, 2012) ​–​unearth the motivation and energy of individual members ​–​surface differences of opinion ​–​renew a sense of passion and commitment (Leary-Joyce and Lines, 2018) ​–​have an element related to winning, being first, revolutionizing or being cutting edge ​–​belong to each individual in the team ​–​belong collectively to the team (Katzenbach and Smith, 1993b) ​–​involve dialogue with wider system sponsors (Hawkins, 2017) ​–​orientate a team towards its objective, helping them choose strategies to support their work (Hackman, 2011)

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

Utanga refugee camp was their home for four years. When Ilhan turned twelve, a Lutheran church sponsored her family to go to the United States. Ilhan arrived in Arlington, Virginia, in possession of two English phrases: “Hello” and “Shut up.” Her classmates yanked at her hijab, stuck chewing gum to it, and bombarded her with questions like, “Do you have hair? Do you have a pet monkey? Does it feel good to wear shoes for the first time?” Every day, the girl who had survived armed militias and a refugee camp was reminded that she was different. “This is the first time I realized the stigma that I carried as an immigrant and a refugee, and a Muslim person who was visibly Muslim, with a headscarf,” she told The New Yorker. “And that my blackness was a source of tension.” But as the kids bullied her, Ilhan remembered her grandfather telling her as a child: “Everything is temporary.” His words gave her courage.

must be wrestled: this is no account of inspiration; it figures instead strenuous poetic labor.66 Proteus sponsors a sense of poetic form as constraint; notions of organic or expressive form are irrelevant to his legend. For only by constraint will he give answer: He bends to no entreaty; capture him With ruthless force and fetters; only these Will circumvent and shatter his designs. (Georgics 4.399–400)67 His story reveals some of what an account of poetic authority requires: struggle and labor, unstable and forceful formality, and repetitiveness; but also the merely temporary arrest of truth. Proteus is an oracle, not a figure for rhetorical artifice. One grasps him, holds on, and after his resistance is spent, he yields a truth. A grip on truth and an effort at retention, however temporary: that is what Proteus brings to a religious poetic—a stubborn, willful grasp on an elusive oracle. We speak of orphic fragments, enigmas, but not of forms fulfilled. Proteus supplements orphic poetics by sponsoring perseverance within explicit bonds: the origin of poetry, for him, is metamorphosis.

One of the keys to achieving a goal is to share it with someone, so I recommend an accountability partner. Choose your spouse, sponsor, or someone in your company who’s committed to remaining positive, who’s collaborative, and who’s working toward something similar as you! Set a weekly talk time to inspire one another, share best practices, and celebrate successes! Social integration is powerful. Processing with positive people allows you to discuss and apply what you’re learning! Get an accountability partner right away and start goal setting today! Track your activity daily.