Unclear Picture Quotes

When I used to picture forever, it was always with the same boy. In my dreams, my future was set. A sure thing. This isn’t the way I’d pictured it. … The future is unclear. But it’s still mine.

is easier to let go of someone’s opinion of you when you understand that others see you through a combination of their past conditioning and their current emotional state without realizing it, they see themselves first, and through that lens they get an unclear picture of you

It is easier to let go of someone’s opinion when you understand that people see you through a combination of their past conditioning plus their current emotion. Without realizing it, they see themselves first and through that lens they get an unclear picture of you.

it is easier to let go of someone’s opinion of you when you understand that others see you through a combination of their past conditioning and their current emotional state without realizing it, they see themselves first, and through that lens they get an unclear picture of you

For frictionless publishing, I write the book, finish the chapters and then post it on Kindle with minimal or no editing immediately for 99 cents. At this stage, the book is definitely worth at least 99 cents so I know that anyone who reads it will get a lot of value out of it and will not be disappointed in their investment. But, I don’t aim to publish and sell 99-cent books. I believe my books are much more valuable. So as soon as I know the book is live on Kindle, I work my butt off to make sure to edit out all the typos, add in any graphics or pictures I need, check the formatting, rewrite any sections that are unclear, add in bonus info and content for my readers and voila! What used to take me 2-3 months to edit and complete now takes 2-3 days, sometimes less. Once I’m confident that the book is finished and I’ve uploaded the final copy on Kindle (unless I find more typos or decide to add more later which I can do anytime thanks to the ease of Ebook publishing), I raise the book’s price to my ideal selling price.

No one can say exactly when the process of combining the different historical, legendary, and mythic elements into a Volsung cycle began, but it was probably at an early date. By the ninth century the legends of the Gothic Jormunrek and those of the destruction of the Burgundians had already been linked in Scandinavia, where the ninth-century “Lay of Ragnar” by the poet Bragi the Old treats both subjects. Bragi’s poem describes a shield on which a picture of the maiming of Jormunrek was either painted or carved and refers to the brothers Hamdir and Sorli from the Gothic section of the saga as “kinsmen of Gjuki,” the Burgundian father of King Gunnar. The “Lay of Ragnar” has other connections with the Volsung legend. The thirteenth-century Icelandic writer Snorri Sturluson identifies the central figure of the lay, whose gift inspired the poem in his honor, with Ragnar Hairy Breeches, a supposed ancestor of the Ynglings, Norway’s royal family. Ragnar’s son-in-law relationship to Sigurd through his marriage to Sigurd’s daughter Aslaug (mentioned earlier in connection with stave church carvings) is reflected in the sequence of texts in the vellum manuscript: The Saga of the Volsungs immediately precedes The Saga of Ragnar Lodbrok. Ragnar’s saga, in turn, is followed by Krákumál (Lay of the Raven), Ragnar’s death poem, in which Ragnar, thrown into the snakepit by the Anglo-Saxon King Ella, boasts that he will die laughing. The Volsung and Ragnar stories are further linked by internal textual references. It is likely that the The Saga of the Volsungs was purposely set first in the manuscript to serve as a prelude to the Ragnar material. The opening section of Ragnar’s saga may originally have been the ending of The Saga of the Volsungs. Just where the division between these two sagas occurs in the manuscript is unclear. Together these narratives chronicle the ancestry of the Ynglings—the legendary line (through Sigurd and Ragnar) and the divine one (through Odin). Such links to Odin, or Wotan, were common among northern dynasties; by tracing their ancestry through Sigurd, later Norwegian kings availed themselves of one of the greatest heroes in northern lore. In so doing, they probably helped to preserve the story for us.” (Jesse Byock)

purpose, people, and process. The purpose is the outcome your team is trying to accomplish, otherwise known as the why. Why do you wake up and choose to do this thing instead of the thousands of other things you could be doing? Why pour your time and energy into this particular goal with this particular group of people? What would be different about the world if your team were wildly successful? Everyone on the team should have a similar picture of why does our work matter? If this purpose is missing or unclear, then you may experience conflicts or mismatched expectations.

This picture implies, though, that reason has a kind of internal hold on the other parts – it asks them, so to speak, to do things in terms that they can understand and agree to. But then won’t the parts other than reason have to have a kind of reason of their own, in order to understand and go along with what the reason part demands? And then won’t all the parts have to have their own reasons? – which makes it unclear how we are supposed to have found a part of the soul which is separate from reason.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

James Lee asked Bobby if he had ever referred to Reggie Brown as an employer at Picaboo. Bobby said he hadn’t. Lee showed him an automated email from Facebook, reading “Bobby Murphy tagged you in Picaboo under Employers.” Bobby’s eyes darted, his head tilted down, and he twitched his mouth nervously. Glancing up at Lee, he sheepishly replied “Uh … Well it looks like here that I did something to that effect,” Murphy said. “I don’t have a specific recollection of this happening … although I would say that it would have been unclear to me what … tagging someone as an ‘employer’ under Facebook would mean.” The following Monday, it was Evan’s turn in front of the deposition camera. Like Bobby, Evan got tripped up a few times. After getting Evan on the record that Reggie had not been building an application with Evan and Bobby, Lee showed Evan an email he sent to Nicole James, the blogger who wrote about Snapchat, in which he wrote, “I just built an app with two friends of mine (certified bros.)” Evan reluctantly admitted that the two people he was referring to were Bobby and Reggie. The deposition continued: “Did you come up with the idea for deleting picture messages?” “No.” “Did Bobby come up with the idea?” “No, he did not.” “Who came up with the idea?” “Reggie did.” “Do you think Reggie deserves anything for the contributions he made on the project?” Evan paused for seven seconds. The room was dead silent. “Reggie may deserve something for some of his contributions.” “Do you have any regrets?” Evan sat still for thirty seconds. Again, the room was noiseless. Evan searched for the right words. “That’s a really hard question for me because it’s pretty clear that I lost a good friend.

In retrospect, Victor was always a little unclear about those next few minutes. That’s the way it goes. The moments that change your life are the ones that happen suddenly, like the one where you die.

Even an unclear picture, a lack of contact with other people in the days or weeks before death, can itself be telling, "Most people tend to be surprised by the suicide. But as they're talking to someone like myself about it later on, it turns out they had more information than they knew they had. They saw things but never put it together." I've heard these kinds of rearview mirror insights from the loved ones of a suicide victim and they are heartbreaking.