Style Attitude Quotes

Your comfort zone is a place where you keep yourself in a self-illusion and nothing can grow there but your potentiality can grow only when you can think and grow out of that zone.

Ideas are never original," Kelsier said. "Only one thing is." "And what is that? "Style," Kelsier said. Then he punched Ruin across the face.

My attitude toward friendship has remained the same. I will support and encourage you with all the love in my heart, but if it's not reciprocal, I gotta go [...] If your friends are bitter about your success to the extent that they act out, don't expect them to change [...] Move on.

Never give up. Dare to Dream. Dare to believe.

I'm six foot four - hello. And with hair, heels, and attitude... I'm through the mother-freakin' roof!

Your VISION and your self-willingness is the MOST powerful elements to conquer your goal

Seven Ways To Get Ahead in Business: 1. Be forward thinking 2. Be inventive, and daring 3. Do the right thing 4. Be honest and straight forward 5. Be willing to change, to learn, to grow 6. Work hard and be yourself 7. Lead by example

How you carry yourself speaks volumes about how you feel about yourself.

Our culture, self-toxified by the poisonous by-products of technology and egocentric ideology, is the unhappy inheritor of the dominator attitude that alteration of consciousness by the use of plants or substances is somehow wrong, onanistic, and perversely antisocial. I will argue that suppression of shamanic gnosis, with its reliance and insistence on ecstatic dissolution of the ego, has robbed us of life’s meaning and made us enemies of the planet, of ourselves, and our grandchildren. We are killing the planet in order to keep intact the wrongheaded assumptions of the ego-dominator cultural style.

Proper posture sends a positive message since 90% of all communication occures through body language and how you carry yourself.

A strong confident person can rule the room with knowledge, personal style, attitude and great posture.

Now sadly there is attitude and no style.

Labels are boring and often have nothing to with the person; it is just the way others perceive you, or choose to perceive you.

The greatest luxury of life is peaceful breathing because it repairs the wounds of the cosmic soul.

Sometimes people are often confused between attitude and style. Nevermind, I'm Awesome.

Autumn is a momentum of the natures golden beauty…, so the same it’s time to find your momentum of life

The signature item is an attitude. It is the gun in your holster that makes you feel well dressed and invincible.

IF we don't start to rethink how we are acting now...We will pay the price later for our "old-stinking-thinking" style

Your traditional EDUCATION is not going to CHANGE your life but the life you are experiencing that can change you. Choose a POSITIVE life STYLE with positive ATTITUDE which could bring you a life with HAPPINESS and WISDOM

How you think and create your inner world that you gonna become in your outer world. Your inner believe manifest you in the outside

A great attitude toward your approach to an interview—demonstrated by your good posture—is everything.

Do the work in your unique style.

Elegance is a personality.

As with any new skill, attitude, style, or belief, adopting a coaching ethos requires commitment, practice, and some time before it flows naturally and its effectiveness is optimized.

If you are not EXCITED enough at your present life its mean your future is not EXITING. Excitement will give you ENTHUSIASM and enthusiasm will give you a positive energetic LIFE STYLE which could give you a successful exiting life…

Universal education through schooling is not feasible. It would be no more feasible if it were attempted by means of alternative institutions built on the style of present schools. Neither new attitudes of teachers toward their pupils nor the proliferation of educational hardware or software (in classroom or bedroom), nor finally the attempt to expand the pedagogue’s responsibility until it engulfs his pupils’ lifetimes will deliver universal education. The current search for new educational funnels must be reversed into the search for their institutional inverse: educational webs which heighten the opportunity for each one to transform each moment of his living into one of learning, sharing, and caring.

CONFIDENCE is not showing off your VANITY, it’s about to be HUMBLED and KIND to others what are you truly SKILLED and PROFESSIONAL about…

Our nonverbal behavior (including posture) gives away our inner personality and reflects our inner attitude.

Style is all about how you carry yourself and project yourself to the world. More than what you're wearing, it's about an overall attitude and sense of ease with yourself.

What I allow into my head finds its way to my heart, which is a porthole to my soul. Therefore, I might be wise to consider the state of my soul, and then walk this process backwards.

Even a moment's reflection will help you see that the problem of using your time well is not a problem of the mind but of the heart. It will only yield to a change in the very way we feel about time. The value of time must change for us. And then the way we think about it will change, naturally and wisely. That change in feeling and in thinking is combined in the words of a prophet of God in this dispensation. It was Brigham Young, and the year was 1877, and he was speaking at April general conference. He wasn't talking about time or schedules or frustrations with too many demands upon us. Rather, he was trying to teach the members of the Church how to unite themselves in what was called the united order. The Saints were grappling with the question of how property should be distributed if they were to live the celestial law. In his usual direct style, he taught the people that they were having trouble finding solutions because they misunderstood the problem. Particularly, he told them they didn't understand either property or the distribution of wealth. Here is what he said: With regard to our property, as I have told you many times, the property which we inherit from our Heavenly Father is our time, and the power to choose in the disposition of the same. This is the real capital that is bequeathed unto us by our Heavenly Father; all the rest is what he may be pleased to add unto us. To direct, to counsel and to advise in the disposition of our time, pertains to our calling as God's servants, according to the wisdom which he has given and will continue to give unto us as we seek it. [JD 18:354] Time is the property we inherit from God, along with the power to choose what we will do with it. President Young calls the gift of life, which is time and the power to dispose of it, so great an inheritance that we should feel it is our capital. The early Yankee families in America taught their children and grandchildren some rules about an inheritance. They were always to invest the capital they inherited and live only on part of the earnings. One rule was "Never spend your capital." And those families had confidence the rule would be followed because of an attitude of responsibility toward those who would follow in later generations. It didn't always work, but the hope was that inherited wealth would be felt a trust so important that no descendent would put pleasure ahead of obligation to those who would follow. Now, I can see and hear Brigham Young, who was as flinty a New Englander as the Adams or the Cabots ever hoped to be, as if he were leaning over this pulpit tonight. He would say something like this, with a directness and power I wish I could approach: "Your inheritance is time. It is capital far more precious than any lands or stocks or houses you will ever get. Spend it foolishly, and you will bankrupt yourself and cheapen the inheritance of those that follow you. Invest it wisely, and you will bless generations to come. “A Child of Promise”, BYU Speeches, 4 May 1986

When the old way of seeing was displaced, a hollowness came into architecture. Our buildings show a constant effort to fill that void, to recapture that sense of life which was once to be found in any house or shed. Yet the sense of place is not to be recovered through any attitude, device, or style, but through the principles of pattern, spirit, and context." - Jonathan Hale, The Old Way of Seeing, 1994

Brutalist architecture was Modernism's angry underside, and was never, much as some would rather it were, a mere aesthetic style. It was a political aesthetic, an attitude, a weapon, dedicated to the precept that nothing was too good for ordinary people. Now, after decades of neglect, it's devided between 'eyesores' and 'icons'; fine for the Barbican's stockbrokers but unacceptable for the ordinary people who were always its intended clients.

REJECTION is kind of your negative ILLUSION which has no value but it’s give you a CLUE to go for next level of your ACTION.

Smiling means not extension of lips..It's enlightenment of soul.

We are endowed with different kinds of gifts for different kinds of services.

dressing well was also a sign of respect, for yourself and for others.

Cool is not an attitude - It's a state of mind

We’re all familiar with the Hippie dress code. Long hair, beards, psychedelic colours, sandals, lots of beads, and the women could often be seen wearing long, flowery granny dresses. So much so in fact that it became a uniform. Hippies rebelled so much against inflexible dress codes that eventually they created their own rigid styles. Hippies mutinied so much against conformity that over the course of time they were forced to play the game and comply with what everyone else was wearing. The counter-culture became a counter-counter-culture. Everyone was the same

when you become addict in to MATERIAL things in life then the TRUE natural life start to run away from you, YES! it's can give you certain pleasure in the society but in the same time it will sabotage your true HAPPINESS of life which we could have simply with GRATITUDE and FORGIVENESS

Her power resided in her attitude: she behaved as though she believed she was irresistible; and whatever her opportunities may have been, the style of the woman implied an erotic history complete with footnotes.

How you accessorize your wardrobe can transform the plainest outfit into a dazzling, unforgettable impression. It can be the mark of your own unique style, an extra splash of fashion, or an expression of your mood.

It’s just how it is. Not everybody was born to be inherently ‘good’. The world is going to be filled with different characters, different flavours, different levels of respectability and whatnot, and Louis just so happens to be on the lower ranks. He’s not good, he’s not brave, and he’s not out to save anyone except himself. Even fairytales have their villains — it’s a part of life. And it’s always been that way. Louis’ always been a bit harsher around the edges. He certainly isn’t going to be winning any “Humanitarian of the Year” awards, that’s for sure. And he doesn’t mind it so much, being thoroughly unaffected by anything and everything and totally removed from his peers and their very trivial lives. Because he’s not like the rest of them. That’s the thing. They’re all the fucking same. With their money and their uppity attitudes and twattiness and their preconceived notions and recycled sentences that disappear as quickly as they come. The same.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

Design is not style. It’s not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.

People shouldn’t be ambivalent themselves just because everything else is, yet one constantly meets the view that, because we’ve been born into a world of contradictions, we must defer to it. Oddly enough, this thoroughly un-Christian attitude is especially common among self-styled Christians.

I underestimated this guy. He plays the game well. Of course he does. He’s had years of adulthood – where everyone smiles when they hate someone and bottles up their emotions – to practice in. He’s a master of passive-aggressive-bullshit-taekwondo. And I’m more a master of the aggressive style.

They found security in letting go rather than in holding on and, in so doing, developed an attitude toward life that might be called psychophysical judo. Nearly twenty-five centuries ago, the Chinese sages Lao-tzu and Chuang-tzu had called it wu-wei, which is perhaps best translated as “action without forcing.” It is sailing in the stream of the Tao, or course of nature, and navigating the currents of li (organic pattern)—a word that originally signified the natural markings in jade or the grain in wood. As this attitude spread and prevailed in the wake of Vibration Training, people became more and more indulgent about eccentricity in life-style, tolerant of racial and religious differences, and adventurous in exploring unusual ways of loving.

The French, on average, sleep nine hours a day.

A light supper, starting with an evening soup (often done in French households), is conducive to a great night’s sleep.

Doctors recommend swimming for the heart, the back, the morale, and the waistline.

MY ⓈⓉⓎⓁⒺ is, My Presentation ➟ & My Attituⅾe is, Your Reflection

I'm a 'shadow seeker' with a 'tude'!." ~Marina DeAngelo [2012]

Beauty and style are important, so is integrity, kindness, and the way that you treat other people.

Making a great first impression is not an accident, and with a little planning, experimentation, and application, you can transform your style, substance, and impact.

Your posture is the key to your personal and professional foundation.

Always walk with style and finesse.

You project a confident image through good body posture.

Your posture can have a great deal of influence on your personal presentation and image, revealing your attitude toward yourself and others.

Jade would never kill anyone just because. With reason, though, yeah. Twice-over, with interest, and more than a little attitude, maybe even something a little extra, for style points.

What is YOUR personal brand? How are you packaging your unique talents, style, personality and/or products to represent who you are, what you do, and how you show yourself to the world?

What is YOUR personal brand? How are you packaging your unique talents, style, personality and/or products to represent who you are, what you do, and how you show yourself to the world?

Those who connect more frequently with their needs and are in constant conversation with their own beings, they can establish a parameter of what kind of workout and effort must be applied, of what amount of energy disposed and to be utilized, it will serve many times as a thermometer for those who listen to their bodies needs and feel what the internal thermostat is saying.

Proven professionals know that by focusing on quality, you can’t lose with the classics and your clothes will last longer. It’s not about having expensive clothing, it is about having style.

Seventies macho was both a look – moustache, jeans, leather jacket – and an attitude – cool, heartless, virile – that were reactions against the old-style homosexuality of too much art and too much emotion.

It's this oppressive, aggressive and exclusice side to cool that makes me declare ardently, no I'm not cool. I rebel against the notion of a standard or style or attitude that oppresses those that don't fit in- that excludes and diminishes the vulnerable, the shy, the uninformed and the uncofident. I rebel, too, against the dominance of a set of values which seems so geared towards the superficial and ephemeral. And I rebel against the idea of being cool if it means being detatched, distant, univolved, dismissive, unresponsive, lacking in emotional honesty- in fact, lacking in all the things that make the world a happier, more sympathetic place.

Universal education through schooling is not feasible. It would be no more feasible if it were attempted by means of alternative institutions built on the style of present schools. Neither new attitudes of teachers toward their pupils nor the proliferation of educational hardware or software (in classroom or bedroom), nor finally the attempt to expand the pedagogue's responsibility until it engulfs his pupils' lifetimes will deliver universal education. The current search for new educational funnels must be reversed into the search for their institutional inverse: educational webs which heighten the opportunity for each one to transform each moment of his living into one of learning, sharing, and caring. We hope to contribute concepts needed by those who conduct such counterfoil research on education--and also to those who seek alternatives to other established service industries.

But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases: (i) Never use a metaphor, simile or other figure of speech which you are used to seeing in print. (ii) Never use a long words where a short one will do. (iii) If it is possible to cut a word out, always cut it out. (iv) Never use the passive where you can use the active. (v) Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent. (vi) Break any of these rules sooner than say anything out-right barbarous. These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in those five specimens at the beginning of this article.

Contemporary attitudes toward urban parks fall into three levels of sophistication. The first, the most naive assumption, is that parks are just plots of land preserved in their original state. If asked to discuss the issue at all, many laymen have maintained this much, that parks are bits of nature created only in the sense that some decision was made not to build on the land. Many are surprised to learn that parks that an artifact conceived and deliberated as carefully as public buildings, with both physical shape and social usage taken into account. The second, a little more informed, is that parks are aesthetic objects and that their history can be understood in terms of an evolution of artistic styles independent of societal considerations. The third is the view that each of the elements of the urban park represents part of planners' strategy for moral and social reform, so that today, as in the past, the citizen visiting a park is subject to an accumulated set of intended moral lessons.

Chaucer's world in The Canterbury Tales brings together, for the first time, a diversity of characters, social levels, attitudes, and ways of life. The tales themselves make use of a similarly wide range of forms and styles, which show the diversity of cultural influences which the author had at his disposal. Literature, with Chaucer, has taken on a new role: as well as affirming a developing language, it is a mirror of its times - but a mirror which teases as it reveals, which questions while it narrates, and which opens up a range of issues and questions, instead of providing simple, easy answers.

People think that design is styling. Design is not style. It’s not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.

It takes skill and technique to convey feelings and ideas in a work of art. But there is a third element; Style of interpretation through emotions. Emotions have a life force of their own whereas, feelings are common in each one of us. I think rather than letting us feel them, emotions wants us carefully to hear them instead.

Here the bewildering antithesis of play and seriousness presents itself once more. We have gradually become convinced that civilization is rooted in noble play and that, if it is to unfold in full dignity and style, it cannot afford to neglect the play-element. The observance of play-rules is nowhere more imperative than in the relations between countries and States. Once they are broken, society falls into barbarism and chaos. On the other hand we cannot deny that modern warfare has lapsed into the old agonistic attitude of playing at war for the sake of prestige and glory. Now this is our difficulty: modern warfare has, on the face of it, lost all contact with play.

After thirty minutes of learning and rehearsing this routine, I've decided to never show my aforementioned self-taught moves to the public. Today's dance style seems to involve a dash of bump and a cup of grind, with a heavy dose of attitude...ingredients I haven't incorporated before. Not having cable television can really keep a girl out of the loop.

Your connection with any ethnic group should be determined by social factors, such as your attitude to the widespread patterns of behavior and style of thinking in this group. If you feel strange in this social environment, it means that you cannot belong to it. Therefore, national identity should be a rational choice made by you in your adult life and cannot be automatically identified at birth.

The fetishizing of the past had a degrading effect on composers’ morale. They started to doubt their ability to please this implacable audience, which seemed prepared to reject their wares no matter what style they wrote in. If no one cares, composers reasoned, we might as well write for one another. This was the attitude that led to the intransigent, sometimes antisocial mentality of the twentieth-century avant-garde.

A leadership comfort zone brings stagnancy, deprives one of innovation, stifles growth and frustrates both the leader and the team they lead. Your personal preferences like leadership style, communication style, prejudices, habits and mannerisms must be effectively managed so that they do not work against you. You have to be careful that your strengths do not end up becoming a hindering comfort zone. Seek to lead, driven by a cause.

What is the total sum of autumn? What is its content, form purpose? Its style, certainly, has unity. But what does it amount to? Eh, but what did the summer amount to, with all its greenery and flowers and sun? Fountains of red and brown will shot out soon. That's what the summer amounted to. And you ask me about movies. I don't know what any movie amounts to. I am looking more for some light behind it, behind the images; I am trying to see the man. It was Barbara Wise who said to me the other day—and she was right: The film critic should not explain what the movie is all about, surely an impossible task; he should help to create the right attitude for looking at movies. That's what my rambling is all about, nothing more. Where was I? Yes, rambling. I will tell you the real truth: All that I have learned in my life (and I have seen many movies) amounts to this: Leaves are falling every autumn. I will be there with my camera when they fall.

[EM] Forster was the only living writer whom he would have described as his master. In other people’s books he found examples of style which he wanted to imitate and learn from. In Forster he found a key to the whole art of writing. The Zen masters of archery—of whom, in those days, Christopher had never heard—start by teaching you the mental attitude with which you must pick up the bow. A Forster novel taught Christopher the mental attitude with which he must pick up the pen.

He’d uncovered one of the early subcult melds, the first internet generation to carve their identity from a global menu of counterculture. Style-wise, they borrowed saggy hip-hop gear from West Coast rappers, cartoonish Gyaru makeup from the Japanese cosplay scene, and angular Emo hairstyles from the Washington, DC, post-hard-core crowd. Their attitudes crossed anything-goes California bisexuality with edgy Brit-punk sneer, a combination that led to a completely novel form of rebellion: wet-kissing strangers on the street.

Even without world wars, revolutions and emigration, siblings growing up in the same home almost never share the same environment. More accurately, brothers and sisters share some environments — usually the less important ones — but they rarely share the one single environment that has the most powerful impact on personality formation. They may live in the same house, eat the same kinds of food, partake in many of the same activities. These are environments of secondary importance. Of all environments, the one that most profoundly shapes the human personality is the invisible one: the emotional atmosphere in which the child lives during the critical early years of brain development. The invisible environment has little to do with parenting philosophies or parenting style. It is a matter of intangibles, foremost among them being the parents’ relationship with each other and their emotional balance as individuals. These, too, can vary significantly from the birth of one child to the arrival of another. Psychological tension in the parents’ lives during the child’s infancy is, I am convinced, a major and universal influence on the subsequent emergence of ADD. A hidden factor of great importance is a parent’s unconscious attitude toward a child: what, or whom, on the deepest level, the child represents for the parents; the degree to which the parents see themselves in the child; the needs parents may have that they subliminally hope the child will meet. For the infant there exists no abstract, “out-there” reality. The emotional milieu with which we surround the child is the world as he experiences it. In the words of the child psychiatrist and researcher Margaret Mahler, for the newborn, the parent is “the principal representative of the world.” To the infant and toddler, the world reveals itself in the image of the parent: in eye contact, intensity of glance, body language, tone of voice and, above all, in the day-today joy or emotional fatigue exhibited in the presence of the child. Whatever a parent’s intention, these are the means by which the child receives his or her most formative communications. Although they will be of paramount importance for development of the child’s personality, these subtle and often unconscious influences will be missed on psychological questionnaires or observations of parents in clinical settings. There is no way to measure a softening or an edge of anxiety in the voice, the warmth of a smile or the depth of furrows on a brow. We have no instruments to gauge the tension in a father’s body as he holds his infant or to record whether a mother’s gaze is clouded by worry or clear with calm anticipation. It may be said that no two children have exactly the same parents, in that the parenting they each receive may vary in highly significant ways. Whatever the hopes, wishes or intentions of the parent, the child does not experience the parent directly: the child experiences the parenting. I have known two siblings to disagree vehemently about their father’s personality during their childhood. Neither has to be wrong if we understand that they did not receive the same fathering, which is what formed their experience of the father. I have even seen subtly but significantly different mothering given to a pair of identical twins.

Those with a dismissive-avoidant attachment style tend to show higher levels of self-reliance, a reduced signaling of need for others, and a distancing, detached attitude toward parents or partners. In children, avoidance is related to aggression, antisocial behaviors, and inflated self-esteem. In adults, avoidance is related to low commitment in romantic relationships, avoidance of intimacy, higher levels of sexual coercion, and a more promiscuous, sexually unrestrained orientation.89 Dismissive-avoidant attachment bears the hallmark of a low-parenting strategy, favoring short-term relationships over intimate, long-term bonding.

The authors of the four passages share a number of practices: an insistence on fresh wording and concrete imagery over familiar verbiage and abstract summary; an attention to the readers' vantage point and the target of their gaze; the judicious placement of an uncommon word or idiom against a backdrop of simple nouns and verbs; the use of parallel syntax; the occasional planned surprise; the presentation of a telling detail that obviates an explicit pronouncement; the use of meter and sound that resonate with the meaning and mood. The authors also share an attitude: they do not hide the passion and relish that drive them to tell us about their subjects. They write as if they have something important to say. But no, that doesn't capture it. They write as if they have something important to show. And that, we shall see, is a key ingredient in the sense of style.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors - values, standards, my own limitations as an observer - make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of things doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I'm very good at sensing others' true feelings." But any number of times I've seen people who say they're easily hurt or hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are taken in by the most transparent flattery. It's enough to make me ask the question: how well do really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am. These are the kind of ideas I had running through my head when I was a teenager. Like a master builder stretches taut his string and lays one brick after another, I constructed this viewpoint - or philosophy of life, to put a bigger spin on it. Logic and speculation played a part in formulating this viewpoint, but for the most part it was based on my own experiences. And speaking of experience, a number of painful episodes taught me that getting this viewpoint of mine across to other people wasn't the easiest thing in the world. The upshot of all this is that when I was young I began to draw an invisible boundary between myself and other people. No matter who I was dealing with, I maintained a set distance, carefully monitoring the person's attitude so that they wouldn't get any closer. I didn't easily swallow what other people told me. My only passions were books and music. As you might guess, I led a lonely life.

Obama benefited from Saul Alinsky’s transracial strategy to assemble an effective coalition. Alinsky’s goal was for the activist to reach America’s white middle class because, as he put it, “that is where the power is.” Alinsky had nothing but contempt for left-wing activists who treated the white middle class as a bunch of square, sexually uptight, gun-toting, small-minded racists. Yes, Alinsky wrote, the middle class is mighty screwed up. But it has become that way because it’s desperate; its economic condition is deteriorating and so people turn to guns and religion to give them consolation. (Sound familiar?) Alinsky advocated that a successful activist must not disdain the middle class but rather join it. Certainly he wasn’t calling for an embrace of the provincial values of the middle class. Rather, he urged that activists adopt the style and attitude of the middle class. If the middle class is “square,” then be square. Don’t wear the black leather jacket and the hippie bandana; wear a suit and tie. Don’t come across as an angry misfit; come across as a nice young man who is only upset because of manifest injustice. Smile a lot; smiles are a great way to disguise rage and contempt. In this way, Alinsky argued, the activist could build a rapport with ordinary Americans and mobilize them on behalf of radical causes.10

Emotions also directly modulate the immune system. Studies at the U.S. National Cancer Institute found that natural killer (NK) cells, an important class of immune cells we have already met, are more active in breast cancer patients who are able to express anger, to adopt a fighting stance and who have more social support. NK cells mount an attack on malignant cells and are able to destroy them. These women had significantly less spread of their breast cancer, compared with those who exhibited a less assertive attitude or who had fewer nurturing social connections. The researchers found that emotional factors and social involvement were more important to survival than the degree of disease itself. Many studies, such as the one reported in The British Medical Journal article, fail to appreciate that stress is not only a question of external stimulus but also of individual response. It occurs in the real lives of real persons whose inborn temperament, life history, emotional patterns, physical and mental resources, and social and economic supports vary greatly. As already pointed out, there is no universal stressor. In most cases of breast cancer, the stresses are hidden and chronic. They stem from childhood experiences, early emotional programming and unconscious psychological coping styles. They accumulate over a lifetime to make someone susceptible to disease.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Then Strathcona discussed literature. He paid his tribute to the "Fleurs de Mal" and the "Songs before Sunrise"; but most, he said, he owed to "the divine Oscar." This English poet of many poses and some vices the law had seized and flung into jail; and since the law is a thing so brutal and wicked that whoever is touched by it is made thereby a martyr and a hero, there had grown up quite a cult about the memory of "Oscar." All up-to-date poets imitated his style and his attitude to life; and so the most revolting of vices had the cloak of romance flung about them—were given long Greek and Latin names, and discussed with parade of learning as revivals of Hellenic ideals. The young men in Strathcona's set referred to each other as their "lovers"; and if one showed any perplexity over this, he was regarded, not with contempt—for it was not aesthetic to feel contempt—but with a slight lifting of the eyebrows, intended to annihilate. One must not forget, of course, that these young people were poets, and to that extent were protected from their own doctrines. They were interested, not in life, but in making pretty verses about life; there were some among them who lived as cheerful ascetics in garret rooms, and gave melodious expression to devilish emotions. But, on the other hand, for every poet, there were thousands who were not poets, but people to whom life was real. And these lived out the creed, and wrecked their lives; and with the aid of the poet's magic, the glamour of melody and the fire divine, they wrecked the lives with which they came into contact. The new generation of boys and girls were deriving their spiritual sustenance from the poetry of Baudelaire and Wilde; and rushing with the hot impulsiveness of youth into the dreadful traps which the traders in vice prepared for them. One's heart bled to see them, pink-cheeked and bright-eyed, pursuing the hem of the Muse's robe in brothels and dens of infamy!

Orion's Tips for Sane Witchcraft (Ponder and Apply to Living) Know your boundaries. Find time for stillness. Look within! Do not confuse spirituality with egotism. Don't abuse power or give it to those who would abuse you with it. Live your life as an expression of conscious creation and divine revelation. Seek counsel daily with your source, your center, and your ancestors. Don't get lazy, crazy, or otherwise in your own way. Remember grace! It brings wisdom and unlocks more vast knowledge. Be sincere in all that you do. Never compromise (especially your integrity) or be compromised. If you lose yourself, you have nothing. Choose what matters and feed it. (Starve the bane, feed the blessing.) Get the lesson and get on with life. Too often life is what happens when you are busy doing something else. Maintain an attitude of thanksgiving. For in doing so, you give gratitude to source and maintain inner fertile space to receive more. Thank the source and its good spirits at the beginning and ending of each day. If you wake up in the morning, your day has already started out good . . . build from that position. Don't wait for a reason to be happy when it is right in front of you. Claim the

I Am a Church Member I am a church member. I like the metaphor of membership. It’s not membership as in a civic organization or a country club. It’s the kind of membership given to us in 1 Corinthians 12: “Now you are the body of Christ, and individual members of it” (1 Cor. 12:27). Because I am a member of the body of Christ, I must be a functioning member, whether I am an “eye,” an “ear,” or a “hand.” As a functioning member, I will give. I will serve. I will minister. I will evangelize. I will study. I will seek to be a blessing to others. I will remember that “if one member suffers, all the members suffer with it; if one member is honored, all the members rejoice with it” (1 Cor. 12:26). I am a church member. I will seek to be a source of unity in the church. I know there are no perfect pastors, staff, or other church members. But neither am I. I will not be a source of gossip or dissension. One of the greatest contributions I can make is to do all I can in God’s power to help keep the church in unity for the sake of the gospel. I am a church member. I will not let my church be about my preferences and desires. That is self-serving. I am in this church to serve others and to serve Christ. My Savior went to a cross for me. I can deal with any inconveniences and matters that are just not my preference or style. I am a church member. I will pray for my pastor every day. His work is never-ending. His days are filled with constant demands for his time—with the need to prepare sermons, with those who are rejoicing in births, with those who are traveling through the valley of the shadow of death, with critics, with the hurts and hopes of others, and with the need to be a husband and a father. My pastor cannot serve our church in his own power. I will pray for God’s strength for him and his family every day. I am a church member. I will lead my family to be good members of this church as well. We will pray together for our church. We will worship together in our church. We will serve together in our church. And we will ask Christ to help us fall deeper in love with this church, because He gave His life for her. I am a church member. This membership is a gift. When I received the free gift of salvation through Jesus Christ, I became a part of the body of Christ. I soon thereafter identified with a local body and was baptized. And now I am humbled and honored to serve and to love others in our church. I pray that I will never take my membership for granted, but see it as a gift and an opportunity to serve others and to be a part of something so much greater than any one person or member. I am a church member. And I thank God that I am.

Orion's Tips for Sane Witchcraft (Ponder and Apply to Living) Know your boundaries. Find time for stillness. Look within! Do not confuse spirituality with egotism. Don't abuse power or give it to those who would abuse you with it. Live your life as an expression of conscious creation and divine revelation. Seek counsel daily with your source, your center, and your ancestors. Don't get lazy, crazy, or otherwise in your own way. Remember grace! It brings wisdom and unlocks more vast knowledge. Be sincere in all that you do. Never compromise (especially your integrity) or be compromised. If you lose yourself, you have nothing. Choose what matters and feed it. (Starve the bane, feed the blessing.) Get the lesson and get on with life. Too often life is what happens when you are busy doing something else. Maintain an attitude of thanksgiving. For in doing so, you give gratitude to source and maintain inner fertile space to receive more. Thank the source and its good spirits at the beginning and ending of each day. If you wake up in the morning, your day has already started out good . . . build from that position. Don't wait for a reason to be happy when it is right in front of you. Claim the direction of your spirit! Fall in love with being you. The seed of divinity is within you; live your truth. Give no enduring interest to what is not spirit while seeking spiritual truth in everything. Do not stray away from your faith in yourself and the source (for in truth they are one). You are guided by the source. Do not be bandied about by the waves of life or you will crash onto the rocks of doubt. Daily, reaffirm your connection with spirit. Renew yourself on the new moment and release the fetters of yesterday to their rightful home . . . yesterday. Weave your web to attract that which you desire . . . then seize it. A witch need not hunt when he or she can attract. If you fall down . . . move what tripped you, get up, dust yourself off, and above all, don't give up walking. In chaotic times, seek the eye of the storm, poise yourself there, and find the wisdom in the stillness. Give thanks for all opportunities to grow.

Learned Optimism: Expecting a Positive Outcome In Learned Optimism, Martin Seligman provides information that has tremendous implications for teams that want to develop the persistence to achieve their business goals. Optimistic team members believe they will be successful and believe they are responsible for their success. Pessimistic team members do not believe they will be successful and believe that nothing they do will improve their results. For these reasons, optimistic team members are resilient and will persist when things get tough, while pessimistic team members give up. Seligman led a research team that demonstrated that optimism and helplessness are learned. His work suggests that when team members decide that nothing they do matters, they feel helpless and will do little to improve their situation. The good news that came from discovering that helplessness can be learned is the revelation that optimism can also be learned. Of particular importance is how team members explain setbacks to themselves. Optimistic team members explain setbacks as temporary, specific, and, where appropriate, externally caused. They do not view the event as long-lasting or permanent. They believe that the event is a temporary setback that can be corrected and refuse to consider it a catastrophe. For them, it is a single event with a specific negative impact. Finally, they only own the result if they should. Optimistic team members don't own the negative returns if the market goes down. Pessimistic team members are on the other end of the continuum. They explain setbacks as permanent, pervasive, and personal. They believe the negative setback is long-lasting. They globalize the setback and believe “all hell is breaking loose.” Pessimistic team members also believe that they are responsible for the setback even when they are not. To make matters worse, pessimistic team members tend to play the setback over and over again in their minds. Because we tend to move toward those things we think about, this ruminating can lead to a self-fulfilling prophecy. Teams reflect the attitudes of the individual team members. If team members explain setbacks as temporary, specific, and (where appropriate) externally caused, the team will be optimistic about their future success and will continue to persist. However, if as a group a team tends to explain setbacks as permanent, pervasive, and caused by the team members, the team will develop a pessimistic explanatory style and will quit, giving up on their goals. What seems to be of lesser importance in developing team persistence is how teams and their members explain successes to themselves. It is interesting that explanatory styles are completely turned around when they experience success. Optimistic teams explain the success as permanent, pervasive, and personally caused. Pessimistic teams explain successes as temporary, specific, and externally caused.

Are the styles we embrace a matter of taste, or of values rejected?

Are you conscious of the scent or odour emanating from your mouth, arm pits, stockings or elsewhere? Are you friendly to your environment? Is your dressing, hair style and make up in line with your defined mission and values? How can you start managing your image and brand for a consistently good impression all the time? Does your image reflect your aspirations?

SERVES 1 ½ to ⅔ cup yogurt (or, if you are in France, faisselle) 1 teaspoon flaxseed oil (olive or other oil works, too) Juice of 1 Meyer lemon 1 teaspoon honey 2 tablespoons raw old-fashioned oatmeal 2 teaspoons chopped walnuts 1.  Place the yogurt in a bowl and add oil. Mix well. Add lemon juice and mix well. Add honey and mix well. (It is important to add each ingredient one at a time and blend well to obtain a homogeneous mixture.) 2.  Add the oatmeal and walnuts to the yogurt mixture and mix well. Serve at once. I can’t help pointing out how amazing this breakfast is because it is

The different kinds of work require different people to perform the task. You must fulfil your specific task.

Avoid having a very large meal before bedtime.

It is an Akido style of martial art. The family disturber throws their disturbance at me like a punch, and I flow with it and its energy, while taking care of myself and my opponent. In Mindell’s work, an attitude of eldership means the elder uses dance to dance freely between the energy of the disturber and the energy of the one disturbed. In Mindell’s talk, he explains that when we get down to this level, we are in Process Mind or into the mind behind the system itself.

As regards the footing or standing and the attitudes of archers, it may be safely asserted that there are as many varieties as there are archers to call them into existence; that no two are exactly alike in all particulars; and that no one archer has yet been seen to combine all the excellences that might be centred in a perfect archer. That an archer's general position may be a good one it must possess three qualities—firmness, elasticity, and grace: firmness, to resist the strain and the recoil of the bow—for if there be any wavering or unsteadiness the shot will probably prove a failure; elasticity, to give free play to the muscles, and the needful command over them—which cannot be the case should the position be too rigid and stiff; and grace, to render the archer and his performance agreeable, and not ludicrous, to the spectator. It so far, fortunately, happens that the third requirement—that of grace—is almost a necessary consequence of the possession of the other two: as the best position for practical results is, in fact, the most graceful one. Experience proves that an awkward ungainly style of shooting is very seldom successful. All these three requisites must be kept constantly in mind in every endeavour to arrive at the best position for combining them.

Since such ideas are concerned largely with interpretation, it is often felt that Romanticism is no more than an attitude of mind. It is certainly true that one cannot catalog a Romantic style by means of an inventory of features, for the sense of a heightened reality can be felt as much in the dramatic bravura of a Delacroix like Liberty Leading the People as in the intense precision of a Caspar David Friedrich like the Arctic Shipwreck. But nor can one look upon Romantic art as the mere illustration of a set of ideas (an attitude that has often led Romanticism to be seen as 'unpictorial', something that has its place, no doubt, in literature but could only lead to a confusion of values in the visual arts). If a poem can indissolubly link a feeling and the rhythm of sounds, then a picture can also encompass the duality of imagery and form.