As we talk to our familiar persons face to face everyday, can two persons talk to each other normally only through minds? all of us talk to ourselves.This way, can two human beings, talk to each other mentally? Can one person access other person's mind and know everything private of his/her life?
Can two persons mentally communicate with each other without meeting ? ie.Can they talk to each other only thr
No.
Reply:i think so .I always come to know the mood and some of his events that took place the same day even though he dont show a slightest emotion of it.
and many time my guess hav come true.
Reply:My husband and I do this sort of thing all the time...although he don't recognize it like I do...I am very spiritual and he hasn't yet found his "path" in life....but he's a great, great man....anyways...I have countless entries in my daily log about things we would be thinking about at the same time...or for example, I will think something silently to myself, then HE will mention something about what I was thininking or something....lol...and I am dead serious, too....I think love, trust, and a good bond in a friendship or married couple is responsible for alot of this....
Reply:Yes this is possible but only for a person who has practiced this
You need to just meditate and imagine the person you want to speak to.....though the voice is not heard
Reply:Yes .it can happen.called mental telepathy.it occurs between people who are really close to each other.sometimes distressed minds seek help through this way.studies have been conducted in this subject.
Reply:I have tried it successfully with my Dog. I will like to try with someone (if you agree).
Jokes apart. i do believe in it. Seriously.
It needs a bond. A very special bond. You must have heard about matching of wavelength. Its as important mentaly as its technically.
You can try with someone who is real closer to you. may be mom, dad, teacher. freind philosopher %26amp; guide. Guru.
As per me the protocol is
1. At least one of two should be fully matured (mentaly)
2. Both should have some spiritual power. (may be I am wrong).
3. Both should have strong belief on eachother.
Try. And if you do not suceed, use a phone (Joking again). You can mail me. I will also start trying it. I have not used it for so long. its uears since my Doggie died.
Reply:It is possible as long as both are open to the idea, try to concentrate and has the "mind capability" to transmit brain wavelengths. People call it "mental telepathy."
Reply:I do not know about mentally communicating, but I do have a connection with my best friend where I can tell how she is feeling even if I have not talked to her. I will call her and ask if she feels a certain way and she will say "yes". But she does the same thing with me. We are emotionally connectes, I shall say.
Reply:No and Yes. No because, if "any" two people in the world get-together and decide, "let's talk mind-to-mind", I am 100% sure it wont work (you would agree it would work if they decide to talk as in 'with their mouths')
Yes in the cases of those who are very close to each other and their lives are very much in tandem with each other. They would have gotten used to eachother so much that intuitive levels of each person would be so high that they can actually guess what the other person is thinking and sometimes take decisions based on that without even asking the other person.
Like someone has already wrote, we still do not know the power of brain and how much we can use it. I am sure a day will come when the signals that are generated in the brain are captured and transmitted to a single individual or broadcasted to everyone in the world - that way doing away with using our mouths all together to communicate. (Ofcourse then that would also signal the end of the world)
Cheers
Reply:Absolutely, but you have to be open to it, and practice doing it. The stronger the psychic connection there is between you and the other person, the easier it is. But, with enough practice anyone can learn how to do it, because we all have the capacity to communicate this way. We are all connected anyway, because we are all one: with God, and with each other.
Reply:I think so... because I do believe that our brain is second powerful to God... and if the brain can make things move without touching it I guess it is possible to talk with the mind as well...
Reply:It is possible to communicate telepathically. I don't know if we all have the ability or only some of us. Like the second answer, we only use 10% of our brains - if we were to use the other 90% it would be opening up things beyond our imagination and comprehension.
I think the brains main purpose is to protect us. I once saw something very unpleasant (a man had been decapitated) - but at the time even though I knew something wasn't right, I couldn't put my finger on it. It was only later in the day that the true horror of what I had seen hit me.
Reply:Ahhhh the brain the final fronteer
I think we only use a fraction of our brain capacity. Imagine what we could do if we used all of our brain?
Reply:may b... i've never experienced it but in the famous book THE ALCHEMIST by Paulo Coelho , the author mentions something about Language of universe, the language without words..
Reply:I don't think people actually have conversations via brain waves, but there are some people that commuincate as if they do talk brain to brain. For instance my sister %26amp; I do very well at word games. We can get the most obscure hint of a word and totally understand, Once my sister said, remote control then she looked at the kitchen. (the word was ice cream) I guessed it right off, every one thought how can that be. But, we know each other so well that we are just like that.
Some people literally have some sort of chemical/mental connection. It can be during a brief encounter between strangers.
A look can say a million words and just that look communicates in such an amazing way. When I encounter it, I want to capture it and make a new friend, but it is usually fleeting.
Some sibblings, especially twins can feel like they get messages from each other. There is no explaination for it, but enough has happened to suggest that it is a real phenomon.
I once had a feeling that my friends mother would die soon. I had no reason to know that. Yet, three days later I got a phone call saying that she had passed. In a way that friend %26amp; I have a tight connection that can't be explained.
When you say Access other peoples minds....that sounds like an intrusive way of getting information from someone. I sure hope that isn't true.
Reply:BETTER CONTACT SOME YOGIS AT HIMALAYA
Tuesday, July 20, 2010
May ask for Mum at birth, Partner now withdrawn his support.?
I'm due to give birth in Sept to my 1st baby. I've a close relationship with my Mum %26amp; said to my partner (we don't live together) I may ask for Mum during labour. I just wanted his blessing %26amp; thought I probably wouldn't ask for her anyway, I just wanted the re-assurance.
He started on at me about how selfish I am %26amp; that it's about the mum and dad, not anyone else. Then he said to just ask her along anyway %26amp; that he won't be there.
I'm terrified of giving birth %26amp; have had a previous miscarriage (Mum was with me through that as my ex wasn't interested), this pregnancy hasn't been easy %26amp; I'm just looking at some re-assurance. My mum has always been there %26amp; a familiar female face would be welcome! His reaction has just upset me %26amp; added to the stress, especially as I had to nag him to get a job (as it is it's only part time, he lives with his parents so he has no bills to pay) %26amp; now I'm faced with the prospect of becoming jobless.
Has anyone been in the same boat? (I'm 31 %26amp; he's 28)
May ask for Mum at birth, Partner now withdrawn his support.?
It's your birth and you NEED to be selfish about it, you're going through the most of the work and discomfort and emotional turmoil of it. Many cultures ban all men from the birthing room and the woman's female family members all support her. Some birthing women just shut down with men in the room, it stops the process or slows it. It's up to you and don't think twice about asserting what you need.
Reply:Honestly, tell him tuff sh*t. You are the one giving birth, not him. A women needs her mom. You need the support of you mum, especially since he doesn't seem to be the comforting.
I know you heard it before, but don't stress about it now, everything will fall into place. Just focus of relaxing for the heath of your growing baby.
Reply:He's being very selfish. My husband and my mum were present at the birth of my 1st child. She wld never get the opportunity to see her grandchild being born and i thought of it as something special for her. When i gave birth to the other 2, it was just my husband with me. Tell yr partner to grow up! He's soon to be a father!
Reply:You should have anyone who will be a comfort for you in the delivery room. Shame on your partner for being so selfish. Is HE giving birth???No your are. He needs to give you whatever support you need...and that sometimes means stepping back. I hope he grows up before the baby gets here. Good luck to you!
Reply:he is being unreasonable, but I'm sure he will come round, I'm having my mum and my partner at the birth with me, most people i know have there mums and partners, good luck. He will come round he wont want to miss the birth x
Reply:I agree with michelle h...it's his baby too. Try explaining to him that you DO want him there too...but you'd like to have your mum for extra support. Reassure him that it'll only be him in there with you when baby arrives...that might help..
Reply:i think your best off without him. he sounds like a selfish lazy bum.
you obviously have a close relationship with your mum and with something as scary as childbirth you should be allowed your mum there without upsetting anybody i say!
Good luck!
Reply:I had my mum and my partner and wouldnt have had it any other way. Ask your mum anyway, she'll be great support for you....stuff him, he sounds like a right as**ole.........sorry xx
Reply:I WAS THERE WHEN MY DAUGHTER WAS BORN SEVEN YEARS AGO AND MY GIRLFRIEND'S MOM WAS ALSO THERE EVEN THOUGH WE DO NOT GET ALONG AT ALL. IT'S HIS LOSS AND HE'LL REGRET IT IN THE LONG RUN.
Reply:No, but stick to your guns. Your mom supports you, is there for you. He isn't. simple.
Reply:no offense but he sounds like a jerk and he sounds jealous you have a great relationship with your mom.
when i gave birth the first time wanted my mum there are my partner there and my partner could not believe i had asked my mum and stopped talking to me .
once i told him to grow up and start acting his age and that i needed the both of them there for support he did stop his sulking.
i am close to my mum she supported me through both my pregnancy's and i asked her to be there and she accepted just tell him to grow up ,worked for me and good luck Hun and baby dust to you
Reply:Sounds like your Mom will be with you longer than him. Sorry, but he sounds like he still has some growing to do. I wanted both with me until it came time. At that point I only wanted my husband and we did fine together. But then, he gave me wonderful emotional support and if he wouldn't have, my Mommy would have been with me! I can understand him wanting it to be just you two, but having a baby hurts! You need someone who will help you, not just stand there. Can he be that person for you?
Reply:No offense sweetheart but, he sounds like a total jerk! A 28 year old "man" who lives with his parents, pays no bills, and can't be bothered to help support his child is no good for you. My exhusband was much the same although he lived with me. I kicked that loser to the curb after a while and was much better for it. If he can't support you now in a very important time it just means that he won't be there for you later. Have your mom with you and tell him if he doesn't like it he can just stay far away. My ex told me I couldn't have a doula and tried to make her go away so, I had him barred from the hospital. He was really sorry he acted like an *** later. Of course later he decided not to work and that was when I kicked him out. Tell him to grow up or hit the road! You sound like an intelligent girl. Do what you think is best for you!
Reply:His response sounds like a knee jerk reaction (i.e. didn't engage brain before mouth,) and maybe a bit of jealousy. It may be he's thinking that you meant to have your mum there instead of him, rather than as well as - I'd check to see what he thought you said and this isn't just a misunderstanding.
He's wrong that it's about the mum and dad, birth is purely the mum's domain. You're the one who's going to be doing all the hard work and it's your right to choose who to have there with you. If you want your mum go ahead and ask her, your partner is going to have to like it or lump it - if he doesn't want to be there if she is then it's him who is being selfish and he'll be deigning himself a unique experience. Who else knows better about what it feels like to give birth than your own mum?
I had both my husband and my mum with me - partially because my hubby has a medical phobia and I was worried he wouldn't be able to cope with being in a hospital (mum was there to knock him down and sit on him if required). I wanted mum to be there for me if hubby had a panic attack, plus she was there for my nephew's birth and my earliest scan, so it seemed right to ask her.
Reply:Ultimately it is your decision. No-one elses.
Personally, i would have my mum there as she is the only person in the world who has unconditional love for you. You two seem to have been through alot together and personally, i would want her there.
However, the father of this baby seems like a right jerk and he obviously doesn't understnad the relationship between a mother and a daughter. If he is really interested in you and this baby he will stay for the birth whether your mum is there or not. You may find he is just a little insecure about both him and your mum seeing you in that state at the same time and may be worried about feeling embaressed.
I would explain this to my mum and see what she feels and unlitmately , depending on how strong your relationship is with your mum, ask for your mum to be there.
Reply:My mum , mother in law AND my husband were all there. Trust me my husband was the least useful of them all. I am really glad I had my mum there because I needed her to hold my head and I knew she had been through it all before, and mother in law held my hand and helped me pee and held a pad under me and everything and even though she wasnt meant to be there she was really great. Mums are the best. My husband got so tired that he fell asleep on the couch. He had to be woken up when I started pushing.
Reply:I've never been in that situation but maybe he was just looking forward to xperiencing this with you its very important to him to see his baby come into the world aswell. Now i understand the need to have your mum there for reassurance but is your bond with your partner not strong enough to give you the reassurance you need. Your about to do something really big together and i think its nice that he wants to be there from the beginning. Am sure if you spoke to your mum about your fears she would be able to suggest the best course of action that wouldnt upset anyone and im sure she would be overjoyed that you thought of her being at the birth . Afterall mum's know best.Am sure your partner meant well but you are the mum and at the end of the day it is your decision. I wish you all the best with this one and hope it all works out ok. Congratulations
Reply:not in your situation however, i told my husband that i wanted my mom in the delivery room. so they were both there. i'm also really close and it meant so much to her and all of us for her to be there. she is so close with my son to this day its unbelievable. my son is definitely grandma's little boy. however my mom also took 3 weeks off work to help me take care of him when he was born. some goes this time. I'm having a scheduled c-section so she will be there for as soon as she can. however if i were you i would sit him down and talk to him. tell him that your mom has always been there for you and he needs to understand that. and tell him that you want him to be there for his unborn child as well. tell him that it isn't always just about the parents especially because you will probably be asking or just receiving help from your parents anyways.
good luck and congrats
Reply:Ignore those thick and stupid comments, i cant advise it enough to make sure you have your mum there, if your that close as i am with mine you will be so glad, sod what anyone else thinks even the dad its his loss if he wants to be the selfish one, its you going through all the pain NOT him!!
I had my mum there at both of my sons births and i will at this next one too in Sept, she really helped and did things to help that no man would know how to do!!
Tell him to like it or lump it but he'll come round if he doesn't is he really worth it????
Its down to YOU who you have with you through this most traumatic time and also wonderful time of your life dont let anyone tell you what to do xx good luck xx
Reply:he sounds like a selfish git. tell him that if he wants to control who is there at the birth then he can be the one pushing a baby out his vagina. god men are such idiots.
i wouldnt want my bf there either watching me scream and pant and look totally unattractive whilst im in agony, tbh i'd probably punch him in the bollocks to make sure he feels some of the labour too.
Reply:He has a valid point. True you are the one giving birth. but he is the father and wants to participate in the birth of his child. He has that right. I am sorry but you are wrong to deny his right to be a father at the start. Be thankfull your baby has a loving father. As for your mom she should back away until you two resolve this issue.
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He started on at me about how selfish I am %26amp; that it's about the mum and dad, not anyone else. Then he said to just ask her along anyway %26amp; that he won't be there.
I'm terrified of giving birth %26amp; have had a previous miscarriage (Mum was with me through that as my ex wasn't interested), this pregnancy hasn't been easy %26amp; I'm just looking at some re-assurance. My mum has always been there %26amp; a familiar female face would be welcome! His reaction has just upset me %26amp; added to the stress, especially as I had to nag him to get a job (as it is it's only part time, he lives with his parents so he has no bills to pay) %26amp; now I'm faced with the prospect of becoming jobless.
Has anyone been in the same boat? (I'm 31 %26amp; he's 28)
May ask for Mum at birth, Partner now withdrawn his support.?
It's your birth and you NEED to be selfish about it, you're going through the most of the work and discomfort and emotional turmoil of it. Many cultures ban all men from the birthing room and the woman's female family members all support her. Some birthing women just shut down with men in the room, it stops the process or slows it. It's up to you and don't think twice about asserting what you need.
Reply:Honestly, tell him tuff sh*t. You are the one giving birth, not him. A women needs her mom. You need the support of you mum, especially since he doesn't seem to be the comforting.
I know you heard it before, but don't stress about it now, everything will fall into place. Just focus of relaxing for the heath of your growing baby.
Reply:He's being very selfish. My husband and my mum were present at the birth of my 1st child. She wld never get the opportunity to see her grandchild being born and i thought of it as something special for her. When i gave birth to the other 2, it was just my husband with me. Tell yr partner to grow up! He's soon to be a father!
Reply:You should have anyone who will be a comfort for you in the delivery room. Shame on your partner for being so selfish. Is HE giving birth???No your are. He needs to give you whatever support you need...and that sometimes means stepping back. I hope he grows up before the baby gets here. Good luck to you!
Reply:he is being unreasonable, but I'm sure he will come round, I'm having my mum and my partner at the birth with me, most people i know have there mums and partners, good luck. He will come round he wont want to miss the birth x
Reply:I agree with michelle h...it's his baby too. Try explaining to him that you DO want him there too...but you'd like to have your mum for extra support. Reassure him that it'll only be him in there with you when baby arrives...that might help..
Reply:i think your best off without him. he sounds like a selfish lazy bum.
you obviously have a close relationship with your mum and with something as scary as childbirth you should be allowed your mum there without upsetting anybody i say!
Good luck!
Reply:I had my mum and my partner and wouldnt have had it any other way. Ask your mum anyway, she'll be great support for you....stuff him, he sounds like a right as**ole.........sorry xx
Reply:I WAS THERE WHEN MY DAUGHTER WAS BORN SEVEN YEARS AGO AND MY GIRLFRIEND'S MOM WAS ALSO THERE EVEN THOUGH WE DO NOT GET ALONG AT ALL. IT'S HIS LOSS AND HE'LL REGRET IT IN THE LONG RUN.
Reply:No, but stick to your guns. Your mom supports you, is there for you. He isn't. simple.
Reply:no offense but he sounds like a jerk and he sounds jealous you have a great relationship with your mom.
when i gave birth the first time wanted my mum there are my partner there and my partner could not believe i had asked my mum and stopped talking to me .
once i told him to grow up and start acting his age and that i needed the both of them there for support he did stop his sulking.
i am close to my mum she supported me through both my pregnancy's and i asked her to be there and she accepted just tell him to grow up ,worked for me and good luck Hun and baby dust to you
Reply:Sounds like your Mom will be with you longer than him. Sorry, but he sounds like he still has some growing to do. I wanted both with me until it came time. At that point I only wanted my husband and we did fine together. But then, he gave me wonderful emotional support and if he wouldn't have, my Mommy would have been with me! I can understand him wanting it to be just you two, but having a baby hurts! You need someone who will help you, not just stand there. Can he be that person for you?
Reply:No offense sweetheart but, he sounds like a total jerk! A 28 year old "man" who lives with his parents, pays no bills, and can't be bothered to help support his child is no good for you. My exhusband was much the same although he lived with me. I kicked that loser to the curb after a while and was much better for it. If he can't support you now in a very important time it just means that he won't be there for you later. Have your mom with you and tell him if he doesn't like it he can just stay far away. My ex told me I couldn't have a doula and tried to make her go away so, I had him barred from the hospital. He was really sorry he acted like an *** later. Of course later he decided not to work and that was when I kicked him out. Tell him to grow up or hit the road! You sound like an intelligent girl. Do what you think is best for you!
Reply:His response sounds like a knee jerk reaction (i.e. didn't engage brain before mouth,) and maybe a bit of jealousy. It may be he's thinking that you meant to have your mum there instead of him, rather than as well as - I'd check to see what he thought you said and this isn't just a misunderstanding.
He's wrong that it's about the mum and dad, birth is purely the mum's domain. You're the one who's going to be doing all the hard work and it's your right to choose who to have there with you. If you want your mum go ahead and ask her, your partner is going to have to like it or lump it - if he doesn't want to be there if she is then it's him who is being selfish and he'll be deigning himself a unique experience. Who else knows better about what it feels like to give birth than your own mum?
I had both my husband and my mum with me - partially because my hubby has a medical phobia and I was worried he wouldn't be able to cope with being in a hospital (mum was there to knock him down and sit on him if required). I wanted mum to be there for me if hubby had a panic attack, plus she was there for my nephew's birth and my earliest scan, so it seemed right to ask her.
Reply:Ultimately it is your decision. No-one elses.
Personally, i would have my mum there as she is the only person in the world who has unconditional love for you. You two seem to have been through alot together and personally, i would want her there.
However, the father of this baby seems like a right jerk and he obviously doesn't understnad the relationship between a mother and a daughter. If he is really interested in you and this baby he will stay for the birth whether your mum is there or not. You may find he is just a little insecure about both him and your mum seeing you in that state at the same time and may be worried about feeling embaressed.
I would explain this to my mum and see what she feels and unlitmately , depending on how strong your relationship is with your mum, ask for your mum to be there.
Reply:My mum , mother in law AND my husband were all there. Trust me my husband was the least useful of them all. I am really glad I had my mum there because I needed her to hold my head and I knew she had been through it all before, and mother in law held my hand and helped me pee and held a pad under me and everything and even though she wasnt meant to be there she was really great. Mums are the best. My husband got so tired that he fell asleep on the couch. He had to be woken up when I started pushing.
Reply:I've never been in that situation but maybe he was just looking forward to xperiencing this with you its very important to him to see his baby come into the world aswell. Now i understand the need to have your mum there for reassurance but is your bond with your partner not strong enough to give you the reassurance you need. Your about to do something really big together and i think its nice that he wants to be there from the beginning. Am sure if you spoke to your mum about your fears she would be able to suggest the best course of action that wouldnt upset anyone and im sure she would be overjoyed that you thought of her being at the birth . Afterall mum's know best.Am sure your partner meant well but you are the mum and at the end of the day it is your decision. I wish you all the best with this one and hope it all works out ok. Congratulations
Reply:not in your situation however, i told my husband that i wanted my mom in the delivery room. so they were both there. i'm also really close and it meant so much to her and all of us for her to be there. she is so close with my son to this day its unbelievable. my son is definitely grandma's little boy. however my mom also took 3 weeks off work to help me take care of him when he was born. some goes this time. I'm having a scheduled c-section so she will be there for as soon as she can. however if i were you i would sit him down and talk to him. tell him that your mom has always been there for you and he needs to understand that. and tell him that you want him to be there for his unborn child as well. tell him that it isn't always just about the parents especially because you will probably be asking or just receiving help from your parents anyways.
good luck and congrats
Reply:Ignore those thick and stupid comments, i cant advise it enough to make sure you have your mum there, if your that close as i am with mine you will be so glad, sod what anyone else thinks even the dad its his loss if he wants to be the selfish one, its you going through all the pain NOT him!!
I had my mum there at both of my sons births and i will at this next one too in Sept, she really helped and did things to help that no man would know how to do!!
Tell him to like it or lump it but he'll come round if he doesn't is he really worth it????
Its down to YOU who you have with you through this most traumatic time and also wonderful time of your life dont let anyone tell you what to do xx good luck xx
Reply:he sounds like a selfish git. tell him that if he wants to control who is there at the birth then he can be the one pushing a baby out his vagina. god men are such idiots.
i wouldnt want my bf there either watching me scream and pant and look totally unattractive whilst im in agony, tbh i'd probably punch him in the bollocks to make sure he feels some of the labour too.
Reply:He has a valid point. True you are the one giving birth. but he is the father and wants to participate in the birth of his child. He has that right. I am sorry but you are wrong to deny his right to be a father at the start. Be thankfull your baby has a loving father. As for your mom she should back away until you two resolve this issue.
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What is my dream saying to me?
The first thing I remember is I am out on a walk looking for something in heavily wooded forest area although there are plenty houses around. While I'm just browsing and taking in the sights, I am frightened to find wild dogs, picking up my scent, from out of the woods. I quickly cross a small bridge and make my way across to the a trail made of white stones to be safe. Once started I continue on the path, the white stone trail turns into white bricks and leads me to the backyard of house. I stop to figure where to go next. At that moment, a women steps from out of her house and into the backyard yelling at me "Why are you here, your trespassing!". After talking to her for a bit, I win her over and she decides to invite me inside for something to eat. In the middle of explaining my travels to her over some food, her husband bursts through the door, she gets up shockingly scared, but ready to protect me. The husband starts calling the womens name looking for her....
Wondering where she is, with a long haunted look in her face of past memories she whisks me away to the garage of their house and makes a clear path to escape for me. Running away from the house, I stumble upon what I had been looking for a house/bus, full of my friends. I hop unto the bus exhausted and make my towards the bedroom quarters. I see only 3 people in a room made for 20 and enter. At the far end of the bedroom I see a familiar sweet face; I walk towards him and smile. He stares at me with pure affection. Continuing to walk down the room I pass my own assigned bed as I look back into his eyes, thinking to myself, I’m too tired to act like I don’t adore him. So exhausted from my trip I fall down, not thinking, and lay beside him, falling asleep instantly.
The next morning I wake up, to what feels like someone stroking my hair and caressing my cheek, almost whispering to me. To my surprise though when I open my eyes, there is nothing, nobody…and I only feel the emotion of being utterly perplexed. I walk up the stairs of the house/bus to find my other friends, they seem to be all busy working on activities galore, making my way into more rooms of the bus, I come across that same face of the guy I know. All he’s focused on is working on his project at his table he’s at. I stare at him for a bit, sigh, confused less now, and then start working at table of my own in the same room, sketching an exotic snake coiled around a large plant.
Then I wake up.
What is my dream saying to me?
This is one of the simpler forms of a dream.
Usually somebody is in the woods or sometime of foresty place, meeting two people, one protects you and one is bad. Then you meet other people who pay attention to you, but later they ignore you.
This usually means that you feel controlled by an authority figure (your mom or dad) and you feel like they are keeping something you really want from you, but by the time you are able to get it, it is gone (usually liking a person) if you are younger this is probably complex emotions from wanting to be with someone who doesn't know you, or because your parents won't let you.
The snake signifies the coil that you feel around yourself, while the plant indicated life. Usually anything you draw in a dream is directly related to your feelings about existence. And as soon as you draw the coil binding life you wake up because your mind no longer accept the dreamstate.
I am not an expert but i'm pretty sure this should mean something to you
- peace.
Reply:sounds like you have a crush
Wondering where she is, with a long haunted look in her face of past memories she whisks me away to the garage of their house and makes a clear path to escape for me. Running away from the house, I stumble upon what I had been looking for a house/bus, full of my friends. I hop unto the bus exhausted and make my towards the bedroom quarters. I see only 3 people in a room made for 20 and enter. At the far end of the bedroom I see a familiar sweet face; I walk towards him and smile. He stares at me with pure affection. Continuing to walk down the room I pass my own assigned bed as I look back into his eyes, thinking to myself, I’m too tired to act like I don’t adore him. So exhausted from my trip I fall down, not thinking, and lay beside him, falling asleep instantly.
The next morning I wake up, to what feels like someone stroking my hair and caressing my cheek, almost whispering to me. To my surprise though when I open my eyes, there is nothing, nobody…and I only feel the emotion of being utterly perplexed. I walk up the stairs of the house/bus to find my other friends, they seem to be all busy working on activities galore, making my way into more rooms of the bus, I come across that same face of the guy I know. All he’s focused on is working on his project at his table he’s at. I stare at him for a bit, sigh, confused less now, and then start working at table of my own in the same room, sketching an exotic snake coiled around a large plant.
Then I wake up.
What is my dream saying to me?
This is one of the simpler forms of a dream.
Usually somebody is in the woods or sometime of foresty place, meeting two people, one protects you and one is bad. Then you meet other people who pay attention to you, but later they ignore you.
This usually means that you feel controlled by an authority figure (your mom or dad) and you feel like they are keeping something you really want from you, but by the time you are able to get it, it is gone (usually liking a person) if you are younger this is probably complex emotions from wanting to be with someone who doesn't know you, or because your parents won't let you.
The snake signifies the coil that you feel around yourself, while the plant indicated life. Usually anything you draw in a dream is directly related to your feelings about existence. And as soon as you draw the coil binding life you wake up because your mind no longer accept the dreamstate.
I am not an expert but i'm pretty sure this should mean something to you
- peace.
Reply:sounds like you have a crush
Wat does this poem mean?
Passer-by
As the days grew dark
And as the winds returned,
In the night sky so gleaming,
A walk-just-was the desire
Saw a man poor, wretched
Nigh a lamp post in the dark.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire for hope.
Saw a man of face familiar
Nigh a marshy field.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire for friendship.
Saw a man - just a man
Nigh a green tree.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire to be free from tears.
As every bird so had he to return
But something stopped him.
Cold fear ran down his blood,
Numb as a stone was he.
Then he heard a voice saying,
"Let him go for myriad are things
that his eyes will pass by."
Wat does this poem mean?
It about a lonely man who longed for friendship but but something inside of him is stopping him. So he let potential friend pass by. They look at him. Eye contact often mean they are interested. But he is too afraid to make the next move.
Reply:Sounds like winter's a brewin'
Reply:idk i didnt read it im just bored. Sorry.
Reply:The author went out for a walk one night in the fall or winter. He passed by 3 men, in need, with 3 different but universal needs: hope friendship and freedom from tears. As he turned to go home the author was chilled with the fear of recognizing himself in each of the men he had passed by. He recognized his own inability to reach out and meet these 3 needs in either his fellow man or in himself. His eyes/his heart was closed up and cold as stone as evidenced by his repeated conclusion: nothing was all that could be done. The voice that spoke to him was his own spirit of insight into the coldness of his heart.
Reply:A Mans recollection of moments that he passed bye in his own life as he is dieing and realises that, as an unknown stranger comforts him that he must now let go of his own.
Reply:Maybe it is saying that we are all ships that pass in the night etc,,,, but it could be deeper than that...It could be about self reflection...the men the passer by sees could be aspects of himself. He is afraid to face himself and to be himself.....the last stanza could indicate that there are many aspects to our experience of ourselves.
As the days grew dark
And as the winds returned,
In the night sky so gleaming,
A walk-just-was the desire
Saw a man poor, wretched
Nigh a lamp post in the dark.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire for hope.
Saw a man of face familiar
Nigh a marshy field.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire for friendship.
Saw a man - just a man
Nigh a green tree.
Nothing was all that could be done.
As the eyes met, the passer-by passed by.
There was nothing but a desire to be free from tears.
As every bird so had he to return
But something stopped him.
Cold fear ran down his blood,
Numb as a stone was he.
Then he heard a voice saying,
"Let him go for myriad are things
that his eyes will pass by."
Wat does this poem mean?
It about a lonely man who longed for friendship but but something inside of him is stopping him. So he let potential friend pass by. They look at him. Eye contact often mean they are interested. But he is too afraid to make the next move.
Reply:Sounds like winter's a brewin'
Reply:idk i didnt read it im just bored. Sorry.
Reply:The author went out for a walk one night in the fall or winter. He passed by 3 men, in need, with 3 different but universal needs: hope friendship and freedom from tears. As he turned to go home the author was chilled with the fear of recognizing himself in each of the men he had passed by. He recognized his own inability to reach out and meet these 3 needs in either his fellow man or in himself. His eyes/his heart was closed up and cold as stone as evidenced by his repeated conclusion: nothing was all that could be done. The voice that spoke to him was his own spirit of insight into the coldness of his heart.
Reply:A Mans recollection of moments that he passed bye in his own life as he is dieing and realises that, as an unknown stranger comforts him that he must now let go of his own.
Reply:Maybe it is saying that we are all ships that pass in the night etc,,,, but it could be deeper than that...It could be about self reflection...the men the passer by sees could be aspects of himself. He is afraid to face himself and to be himself.....the last stanza could indicate that there are many aspects to our experience of ourselves.
What do think of this poem? I need a name too plz.?
A fading glimpse,
A noise,
Then silence.
Another stranger passing by.
A hand to shake,
A smile,
We laugh.
Another name I won't remember.
A face, familiar, yet new,
I've seen,
Somewhere.
Another "friend" I think I've met.
A voice I've heard,
A pause,
Then laughter.
Another disembodied name.
An awkward hug,
Afew,
quick words.
"I love you too, whoever you are"
What do think of this poem? I need a name too plz.?
It's a really good poem. I liked it very much.
"Stranger Friend"
"Crowd of Strangers"
"Crowd of acquaintances"
"Acquaintances"
Reply:its goodish i like it............... the name should be familiar faces
Reply:I loved it!
What about "Unspoken Love"?
Reply:i actually like it... it's short enough that i want to read it, yet long enough that i can get into it... also you use great descriptive words and i can really get a sense of what this person is feeling
id think a name like "Empty Faces" or "Alone in a Sea of People" or "Lonely Confusion"
Reply:I like it. Is sounds like the events that we all go through wach day. Meeting new poeple and forgeting their name, strangers passing by, people we think we've met before but is also a new friend. It's a cool poem.
You should name it..... "Passer By"
Reply:its not bad, bodies of perception
Reply:i love it, how about "faces" or "people"?
Reply:'' missed you mom ''
Reply:The busker
Reply:i really like that!!!!
how about
"The strangers we love"
or
"people"
IDK something having to do with people or strangers
A noise,
Then silence.
Another stranger passing by.
A hand to shake,
A smile,
We laugh.
Another name I won't remember.
A face, familiar, yet new,
I've seen,
Somewhere.
Another "friend" I think I've met.
A voice I've heard,
A pause,
Then laughter.
Another disembodied name.
An awkward hug,
Afew,
quick words.
"I love you too, whoever you are"
What do think of this poem? I need a name too plz.?
It's a really good poem. I liked it very much.
"Stranger Friend"
"Crowd of Strangers"
"Crowd of acquaintances"
"Acquaintances"
Reply:its goodish i like it............... the name should be familiar faces
Reply:I loved it!
What about "Unspoken Love"?
Reply:i actually like it... it's short enough that i want to read it, yet long enough that i can get into it... also you use great descriptive words and i can really get a sense of what this person is feeling
id think a name like "Empty Faces" or "Alone in a Sea of People" or "Lonely Confusion"
Reply:I like it. Is sounds like the events that we all go through wach day. Meeting new poeple and forgeting their name, strangers passing by, people we think we've met before but is also a new friend. It's a cool poem.
You should name it..... "Passer By"
Reply:its not bad, bodies of perception
Reply:i love it, how about "faces" or "people"?
Reply:'' missed you mom ''
Reply:The busker
Reply:i really like that!!!!
how about
"The strangers we love"
or
"people"
IDK something having to do with people or strangers
For those whom read To Kill A Mockingbird by Haper Lee and are still familiar with the book...?
please help me answer the questions form my take home test. I have finished all of them, but these questions, im not sure of. thanks for the help! i deeply appreciate it !
True or False:
1.)Jem and Scout both live in Maycomb, Texas.
2.) Bob Ewell died when, in a drunken stupor, he falls on his own kitchen knife.
3.) Mr. Gilmer showed little commpassion for tom robinson during the trial.
4.) Dill ran away because he thought his mom and stepfather were mean to him.
5.) Mr. Underwood was the sole owner and editor of the maycomb Tribune.
6.) Mayella Ewell was injured on the left side of her face.
Questions
1.) What is Atticus dangerous question?
2.) Who is Braxton Underwood
3.) How old is Mayella, Tom, and Atticus
4.) What is tom's real crime?
5.)Atticus dislikes practicing criminal law because his first clients were ______________
6.) What is Dill's full name?
7.) Why does reverend sykes lock the church doors before anyone can leave?
8.)Name 4 items in the knothol
For those whom read To Kill A Mockingbird by Haper Lee and are still familiar with the book...?
Sorry, I don't believe you when you say that you "finished them all except these". These questions are so basic, there is no way you could have answered others, and have only these left over!
I'm with the other people who say, read the book!!! It's one of the best American novels! Really, it's a wonderful book. If you really read it (and don't be put off by the fact that the first few pages are a bit dull) you'll find that it's a compelling story. And two of the greatest characters I've ever read - Scout and her father, Atticus!
BTW, reading the Cliff notes, is NOT reading the book, for crying out loud.
And yes, I DO know the answers to all the questions. I read it the first time when I was 11, and I'm now reading it with my 11 year old daughter.
The questions you've been asked, well, you would have to be able to answer most of them, even with a cursory reading of the book. Most of them are not hard!
Oh, and I should warn you, many of the answers you've gotten, both here and the first time you've answered the question, are not quite right. I'm sure the people who answered them remember it that way, and I might have said a few of the same things if I hadn't recently re-read it. But there are some very wrong answers posted.
READ it to find out which ones!
Reply:1) T
2) F
3) F
4) F
5) T
6) F
1) ?
2) Editor of the Maycomb Tribune
3) 19, about 30, about 50
4) Being black
5) ?
6) Charles Baker Hariss
7) So nobody will leave before raising 10 dollars for the church
8) soap dolls, broken clock, gum, ball of yarn
Reply:You didn't read it if you only read cliff notes that's not ready you dummy that's scanning. Get your edummmication you dummy.
Reply:1. F
2. T
3. F
4. F
5. f?
6. T
8) soap figures, watch of gold, stick of gum and idk
Reply:The book is an excellent read. If you're pressed for time, though, read the Cliff's Notes on it. http://www.cliffsnotes.com/WileyCDA/LitN...
Reply:http://www.homework-online.com/tkamb/cha...
Way too many questions. Try this web site first. Go to the character analysis and see what you can find.
1 ‘Do you really think so?’. . . was Atticus’s dangerous question”
2. Braxton Bragg Underwood: sole owner, editor, and printer of The Maycomb Tribune.
3, Tom was 25, Mayella 19, Atticus middle ages?
4. Being black
Sorry, come on and try to be gracious. I was trying to help you\!
Reply:use sparknotes.
Reply:*True or False*
1. False- they live in Maycomb, Alabama.
2. ummm... Boo Radley, rescues Scout and her brother. In order to protect Boo's privacy, the sheriff decides that Bob Ewell fell on his own knife while he was struggling with Jem. Boo Radley returns home never to be seen again. (so i dont know if that is just what they decided or if its actually how he died?...)
3. he showed NO compassion...so i guess that would be true? but i didnt think he even showed a little bit...
4. i think its true - he ran away because they didnt pay attention to him...
5. True
6. False - it was her right side
*Questions*
1. “‘Do you really think so?’. . . was Atticus’s dangerous question” because he delighted in helping people see a situation in a new light.
2. Mr. Braxton Bragg Underwood-The owner, editor, and printer of The Maycomb Tribune. Although he openly dislikes blacks, he defends Tom’s right to a fair trial.
3. Mayella is 19;
4.
5. Hanged
6. Charles Baker "Dill" Harris
7. He locks the congregation in the hot church until enough money is raised for Tom Robinson's family.
8. chewing gum, two pennies, a ball of twine, soap carvings of themselves, a pocket watch that doesnt work.
Reply:just go on sparknotes if you don't want to read it, idiot.
Reply:It is a great story. Read it!
Reply:check this site i hope it helps
www.sparknotes.net and if not .net than .com try one of them
dental dam
True or False:
1.)Jem and Scout both live in Maycomb, Texas.
2.) Bob Ewell died when, in a drunken stupor, he falls on his own kitchen knife.
3.) Mr. Gilmer showed little commpassion for tom robinson during the trial.
4.) Dill ran away because he thought his mom and stepfather were mean to him.
5.) Mr. Underwood was the sole owner and editor of the maycomb Tribune.
6.) Mayella Ewell was injured on the left side of her face.
Questions
1.) What is Atticus dangerous question?
2.) Who is Braxton Underwood
3.) How old is Mayella, Tom, and Atticus
4.) What is tom's real crime?
5.)Atticus dislikes practicing criminal law because his first clients were ______________
6.) What is Dill's full name?
7.) Why does reverend sykes lock the church doors before anyone can leave?
8.)Name 4 items in the knothol
For those whom read To Kill A Mockingbird by Haper Lee and are still familiar with the book...?
Sorry, I don't believe you when you say that you "finished them all except these". These questions are so basic, there is no way you could have answered others, and have only these left over!
I'm with the other people who say, read the book!!! It's one of the best American novels! Really, it's a wonderful book. If you really read it (and don't be put off by the fact that the first few pages are a bit dull) you'll find that it's a compelling story. And two of the greatest characters I've ever read - Scout and her father, Atticus!
BTW, reading the Cliff notes, is NOT reading the book, for crying out loud.
And yes, I DO know the answers to all the questions. I read it the first time when I was 11, and I'm now reading it with my 11 year old daughter.
The questions you've been asked, well, you would have to be able to answer most of them, even with a cursory reading of the book. Most of them are not hard!
Oh, and I should warn you, many of the answers you've gotten, both here and the first time you've answered the question, are not quite right. I'm sure the people who answered them remember it that way, and I might have said a few of the same things if I hadn't recently re-read it. But there are some very wrong answers posted.
READ it to find out which ones!
Reply:1) T
2) F
3) F
4) F
5) T
6) F
1) ?
2) Editor of the Maycomb Tribune
3) 19, about 30, about 50
4) Being black
5) ?
6) Charles Baker Hariss
7) So nobody will leave before raising 10 dollars for the church
8) soap dolls, broken clock, gum, ball of yarn
Reply:You didn't read it if you only read cliff notes that's not ready you dummy that's scanning. Get your edummmication you dummy.
Reply:1. F
2. T
3. F
4. F
5. f?
6. T
8) soap figures, watch of gold, stick of gum and idk
Reply:The book is an excellent read. If you're pressed for time, though, read the Cliff's Notes on it. http://www.cliffsnotes.com/WileyCDA/LitN...
Reply:http://www.homework-online.com/tkamb/cha...
Way too many questions. Try this web site first. Go to the character analysis and see what you can find.
1 ‘Do you really think so?’. . . was Atticus’s dangerous question”
2. Braxton Bragg Underwood: sole owner, editor, and printer of The Maycomb Tribune.
3, Tom was 25, Mayella 19, Atticus middle ages?
4. Being black
Sorry, come on and try to be gracious. I was trying to help you\!
Reply:use sparknotes.
Reply:*True or False*
1. False- they live in Maycomb, Alabama.
2. ummm... Boo Radley, rescues Scout and her brother. In order to protect Boo's privacy, the sheriff decides that Bob Ewell fell on his own knife while he was struggling with Jem. Boo Radley returns home never to be seen again. (so i dont know if that is just what they decided or if its actually how he died?...)
3. he showed NO compassion...so i guess that would be true? but i didnt think he even showed a little bit...
4. i think its true - he ran away because they didnt pay attention to him...
5. True
6. False - it was her right side
*Questions*
1. “‘Do you really think so?’. . . was Atticus’s dangerous question” because he delighted in helping people see a situation in a new light.
2. Mr. Braxton Bragg Underwood-The owner, editor, and printer of The Maycomb Tribune. Although he openly dislikes blacks, he defends Tom’s right to a fair trial.
3. Mayella is 19;
4.
5. Hanged
6. Charles Baker "Dill" Harris
7. He locks the congregation in the hot church until enough money is raised for Tom Robinson's family.
8. chewing gum, two pennies, a ball of twine, soap carvings of themselves, a pocket watch that doesnt work.
Reply:just go on sparknotes if you don't want to read it, idiot.
Reply:It is a great story. Read it!
Reply:check this site i hope it helps
www.sparknotes.net and if not .net than .com try one of them
dental dam
The difficulty to talk and mingle with people is a mental problem? (familiar people also)?
This problem is for my sister (30 years), married and having 1 child. 8 years ago when she was in college, she was preparing to present somenthing in stage in front of her classmates and teachers she could'nt talk anything and frightened. She is telling after that she can't talk freely to anybody.(but to some close people she can) She feels trembling, shivering and sweating and her face also feels tight. She is teaching in a school now. In a strict surroundings she feels more problem. Attending a stage function is very difficult for her. If any time like that a situation occures she feels very nervous and afraid and the problem becomes more severe for her. She is doing yoga also. Is this a psychiatric problem? Is this a serious problem and need medication? or she can survive doing yoga and relaxation techniques? please advise.
The difficulty to talk and mingle with people is a mental problem? (familiar people also)?
sounds like an anxiety disorder. There are medications you can take for this problem.
Reply:I was diagnosed with "acute agoraphobia" and "severe depression" and had these symptoms and more. I was prescribed many pills, the last of them Zyprexa. I didn't take them. What helped was some therapy and a great support system, meaning: people who would not take "no" for an answer when it came to leaving the house and being social.
I am still, after three years, not completely over it, and put up a struggle occasionally, but once I get out and about, I realize that I've done this before, and I hadn't laid down and died then, and actually I'm having a good time after all. It's still wierd.
Reply:its not mental problem just part and parcel of ones nature.. may be reserved.. shyyy.. little spoken but that does not indicate any problem its just preference and personal limitation..
Reply:U must see a PHYSICIAN.
Reply:Sounds to me that she may have some aspects of agoraphobia, a fear of crowds and crowded places. I suspect she may easily benefit from therapy with a psychologist or psychiatrist. I don't know that she'd be cured, but I'm fairly certain she could learn some coping skills. That's what those folks are for!
Reply:It sounds to me like she may be having panic attacks. There are actually so many different kinds of mental disorders, and I dont know her personally so I would hate to say for sure which one it is, but she definitely needs to go to a qualified doctor , because there are many kinds of medicines that can help her overcome it. I do hope she gets the help she needs, because there is help out there...you just have to ask for it. She should not be ashamed to ask for help in dealing with this, because she CAN overcome this.
Reply:It's Social Anxiety Disorder, or Social Affective Disorder.
If she sees a Therapist (Dr), she can get meds for it.
Reply:Personality,Inhibition,and Anxiety. Maybe you don't need medication.
The difficulty to talk and mingle with people is a mental problem? (familiar people also)?
sounds like an anxiety disorder. There are medications you can take for this problem.
Reply:I was diagnosed with "acute agoraphobia" and "severe depression" and had these symptoms and more. I was prescribed many pills, the last of them Zyprexa. I didn't take them. What helped was some therapy and a great support system, meaning: people who would not take "no" for an answer when it came to leaving the house and being social.
I am still, after three years, not completely over it, and put up a struggle occasionally, but once I get out and about, I realize that I've done this before, and I hadn't laid down and died then, and actually I'm having a good time after all. It's still wierd.
Reply:its not mental problem just part and parcel of ones nature.. may be reserved.. shyyy.. little spoken but that does not indicate any problem its just preference and personal limitation..
Reply:U must see a PHYSICIAN.
Reply:Sounds to me that she may have some aspects of agoraphobia, a fear of crowds and crowded places. I suspect she may easily benefit from therapy with a psychologist or psychiatrist. I don't know that she'd be cured, but I'm fairly certain she could learn some coping skills. That's what those folks are for!
Reply:It sounds to me like she may be having panic attacks. There are actually so many different kinds of mental disorders, and I dont know her personally so I would hate to say for sure which one it is, but she definitely needs to go to a qualified doctor , because there are many kinds of medicines that can help her overcome it. I do hope she gets the help she needs, because there is help out there...you just have to ask for it. She should not be ashamed to ask for help in dealing with this, because she CAN overcome this.
Reply:It's Social Anxiety Disorder, or Social Affective Disorder.
If she sees a Therapist (Dr), she can get meds for it.
Reply:Personality,Inhibition,and Anxiety. Maybe you don't need medication.
I have a kitten who is having 'Cat tremors'. Anyone familiar with this who can give me some information?
I have a kitten named "Fancy-face" who is approx 5 months old. To see her you would think she is a perfectly healthy and happy cat, which for the most part she is. When she was about 3 1/2 months old we started noticeing some 'shakeing' in her. I have other cats and have seen this before while they are sleeping and dreaming. This is different with "Fancy". It happens when she is laying down, awake or asleep. Its gone from just her back legs to her entire body. This doesnt happen all the time but most of the time. It doesnt happen to any of my other cats and is the first time I have seen anything like it. It reminds me of Parkinsons type shakes. I looked online and only came up with 'Cat tremors' as a possibility of what its called, but very very very little info about it. Anyone who can help me figure this out I would truely appreciate it. Thanx much!
I have a kitten who is having 'Cat tremors'. Anyone familiar with this who can give me some information?
There are a number of things this could be...
Hypomyelination (diseases that decrease the covering of the nerves) or Degenerative neurologic diseases.
I think a trip to the vets is in order...good luck
Reply:take her to a vet to be sure of what is gong on it could be a number of things
had a cattery for years alot can go on
I have a kitten who is having 'Cat tremors'. Anyone familiar with this who can give me some information?
There are a number of things this could be...
Hypomyelination (diseases that decrease the covering of the nerves) or Degenerative neurologic diseases.
I think a trip to the vets is in order...good luck
Reply:take her to a vet to be sure of what is gong on it could be a number of things
had a cattery for years alot can go on
Friends being a total fake in her love life! sound familiar??
so my friend always calls me when she is w her BF just so that she can sorta rub it in my face but she always %26amp; i mean alaways makes things sound better in her love life then what they really are!!! then she trys to hook me up wtih total @$$ ya no? Then when im with a really good guy that is totaly amazing she tells me not to date him because he not good enough or that he's ugly or that he has a bad rep. but i really know that he is a total good kid. but i don't think that she wants my life to become better then hers.. so what's the deal...then she always has to make commets on what i wear like" do you relally think that Johns gonna look at u wearing that?" and that pisses me off.. like right now it's more war between us then "friends".i'm dating this guy who is the star football player and the star wrestler and baseball star of the school.%26amp; she is so piss when she walks pass us in the hallway and c's us holding hads. she just rools her eyes and walks away...help from teh pros?
Friends being a total fake in her love life! sound familiar??
Well, I'm not a pro, but it sounds to me like she's actually jealous of you. I mean, come on, you're dating a star sports guy, that's pretty cool. She must be jealous. I think you should try not to let it get to you, even if it does really bug you, which I'm sure it does. You just have to kind of disagree with her in your mind, but try not to say too much to her about the way she acts. She's just being somewhat immature and you have to step up and be mature about it. Don't worry, it'll work out!
Reply:I would stop being her friend.I would find a new friend who supports you to who you go out wit.maybe shes jelious.
Friends being a total fake in her love life! sound familiar??
Well, I'm not a pro, but it sounds to me like she's actually jealous of you. I mean, come on, you're dating a star sports guy, that's pretty cool. She must be jealous. I think you should try not to let it get to you, even if it does really bug you, which I'm sure it does. You just have to kind of disagree with her in your mind, but try not to say too much to her about the way she acts. She's just being somewhat immature and you have to step up and be mature about it. Don't worry, it'll work out!
Reply:I would stop being her friend.I would find a new friend who supports you to who you go out wit.maybe shes jelious.
Does anyone know where this is from? I read it on a friends' blog and it seems so familiar?
I'm sorry.
I'm sorry that I keep saying that I'm sorry. I know it's strange; strange in a George W. Bush-hasn't-been-assasinated-yet kind of way, that I say I'm sorry for the stupid **** and trivial things. She sings the sweet logic that apologies should grow like trees;only able to bear fruit if it's root is planted in the soil of genuine sincerity. But I somehow manage to parody each apology by speaking it before every act, and the fact is that I'm not really sorry that I completely dig Degrassi, because it was Yick and Arthur that got me through wet dreams and puberty. I don't expect you to understand the reference, but I've been into this **** ever since a casting director said, "**** physicality, give me some reality. Give me kids who can't act and are ugly. They'll teach the world all about beauty."
I can relate to this because before I met you, I used to want to lock myself into a vault just to feel precious. But now with every kiss hello and goodbye, I feel a self worth no banker can tally. And my heart is a protest that I let rally against my ribs, because I want to build my bones into cribs and lay my reluctance to rest; test what it would be like to live frenetically, to hold you unapologetically, to plant a giving tree on my front lawn, so that when you're gone it can give you back to me. And I'm sorry. And when you sleep next to me you're forced to listen to the symphony of my unplugged nostril. And I'm sorry that one time for some reason I called you "man."
Thats ****** up.
****** up in an I-just-bought-a-pair-of-speedos-so-I-can... kind of way. And crazier than that is the fact that I'll play at being brave, because doubt is about as useful as a fire escape when you're trying to dodge a tidal wave. When you've got no time to save anybody but yourself, you better know you're worth it. And you are worth the time it takes to get to know you. We've managed to muddle through the awkward stages of, "I like you, and do you like me too?" And when we both said "yes," life became a multiple choice test. Not knowing anything, we became eachothers best guess. And holding your hand is less like exploration and more like discovery. I don't have to study to be sure. You're the choice I made before I knew what the other choices were. And like the best idea I'll ever have I want you to occur to me daily. And I'm sorry, but I want to kiss you every time you have something incredible to say.
But you're beautiful, beautiful in a view kind of way.
Your like the long lost vinyl of Louis Armstrong, and I want to play you until it - until it - until it ski- until it ski- I want to play you until it skips.
I want to tell you a secret, and I want you to listen with your lips. I want your hands on my hips like they were their final resting place, then put that funeral on your paper so you can trace their lifetime back to the fact that I'm more inclined to find a space in your heart to haunt for as long as you want me to. Baby, I'll rattle chains up and down the halls of you. And this isn't the greatest romance the world has ever seen. Lets face it: we've been making out to songs about breakup and heartache. But I've come to realize romance should be less like a flower, and more like an earthquake. I'm not saying that I want to shake cities to the ground. I'm not saying that I want the rubble that remains to become a lost and found where we find the kind of tolerance it takes to rebuild in the face of tragedy. I'm tired of living in a world that says people only come together when faced with catastrophe. I want you to want me to be the me you see when I'm free to be the me that got me next to you. And as for romance? Well I want that too. I want to fall asleep next to you one hundred times a night so I can know you one hundred times better before we hit the daylight, and in spite of all of this:
I also want amnesia...
So that I can relive each kiss with a perfect new-ness that leaves me smashed in the arms of rapture. I want the sky to fra ctu re under the impossible weight of an apology, because I'm sorry. I'm sorry that I want so much. I'm sorry that I've been using 'I'm sorry' as a crutch to lean on for so long ..but if you sing me that sweet song of logic again, then I promise to make the effort to stand on my own. There's a reason that our hearts are more like a muscle and less like a bone. I've known so many people who've grown up flexing in front of mirrors falling for their own reflection, thinking it will be adequate.. and that's bullshit. Because we only get from now until the time we go, and if they've only got time to love themselves, then no one's going to be around to hear their heartbeat echo. So don't expect an apology when I tell you I'm only held together by a heart that pumps glue. It's the strongest muscle in my body, and I'm flexing it...
Does anyone know where this is from? I read it on a friends' blog and it seems so familiar?
I'm fairly sure it hasn't been lifted from anywhere on the Internet. It's probably an original composition. I'm surprised you were able to post something with the word **** in it (see, Yahoo censor won't let me do it).
dental emergency
I'm sorry that I keep saying that I'm sorry. I know it's strange; strange in a George W. Bush-hasn't-been-assasinated-yet kind of way, that I say I'm sorry for the stupid **** and trivial things. She sings the sweet logic that apologies should grow like trees;only able to bear fruit if it's root is planted in the soil of genuine sincerity. But I somehow manage to parody each apology by speaking it before every act, and the fact is that I'm not really sorry that I completely dig Degrassi, because it was Yick and Arthur that got me through wet dreams and puberty. I don't expect you to understand the reference, but I've been into this **** ever since a casting director said, "**** physicality, give me some reality. Give me kids who can't act and are ugly. They'll teach the world all about beauty."
I can relate to this because before I met you, I used to want to lock myself into a vault just to feel precious. But now with every kiss hello and goodbye, I feel a self worth no banker can tally. And my heart is a protest that I let rally against my ribs, because I want to build my bones into cribs and lay my reluctance to rest; test what it would be like to live frenetically, to hold you unapologetically, to plant a giving tree on my front lawn, so that when you're gone it can give you back to me. And I'm sorry. And when you sleep next to me you're forced to listen to the symphony of my unplugged nostril. And I'm sorry that one time for some reason I called you "man."
Thats ****** up.
****** up in an I-just-bought-a-pair-of-speedos-so-I-can... kind of way. And crazier than that is the fact that I'll play at being brave, because doubt is about as useful as a fire escape when you're trying to dodge a tidal wave. When you've got no time to save anybody but yourself, you better know you're worth it. And you are worth the time it takes to get to know you. We've managed to muddle through the awkward stages of, "I like you, and do you like me too?" And when we both said "yes," life became a multiple choice test. Not knowing anything, we became eachothers best guess. And holding your hand is less like exploration and more like discovery. I don't have to study to be sure. You're the choice I made before I knew what the other choices were. And like the best idea I'll ever have I want you to occur to me daily. And I'm sorry, but I want to kiss you every time you have something incredible to say.
But you're beautiful, beautiful in a view kind of way.
Your like the long lost vinyl of Louis Armstrong, and I want to play you until it - until it - until it ski- until it ski- I want to play you until it skips.
I want to tell you a secret, and I want you to listen with your lips. I want your hands on my hips like they were their final resting place, then put that funeral on your paper so you can trace their lifetime back to the fact that I'm more inclined to find a space in your heart to haunt for as long as you want me to. Baby, I'll rattle chains up and down the halls of you. And this isn't the greatest romance the world has ever seen. Lets face it: we've been making out to songs about breakup and heartache. But I've come to realize romance should be less like a flower, and more like an earthquake. I'm not saying that I want to shake cities to the ground. I'm not saying that I want the rubble that remains to become a lost and found where we find the kind of tolerance it takes to rebuild in the face of tragedy. I'm tired of living in a world that says people only come together when faced with catastrophe. I want you to want me to be the me you see when I'm free to be the me that got me next to you. And as for romance? Well I want that too. I want to fall asleep next to you one hundred times a night so I can know you one hundred times better before we hit the daylight, and in spite of all of this:
I also want amnesia...
So that I can relive each kiss with a perfect new-ness that leaves me smashed in the arms of rapture. I want the sky to fra ctu re under the impossible weight of an apology, because I'm sorry. I'm sorry that I want so much. I'm sorry that I've been using 'I'm sorry' as a crutch to lean on for so long ..but if you sing me that sweet song of logic again, then I promise to make the effort to stand on my own. There's a reason that our hearts are more like a muscle and less like a bone. I've known so many people who've grown up flexing in front of mirrors falling for their own reflection, thinking it will be adequate.. and that's bullshit. Because we only get from now until the time we go, and if they've only got time to love themselves, then no one's going to be around to hear their heartbeat echo. So don't expect an apology when I tell you I'm only held together by a heart that pumps glue. It's the strongest muscle in my body, and I'm flexing it...
Does anyone know where this is from? I read it on a friends' blog and it seems so familiar?
I'm fairly sure it hasn't been lifted from anywhere on the Internet. It's probably an original composition. I'm surprised you were able to post something with the word **** in it (see, Yahoo censor won't let me do it).
dental emergency
Does this sound or look remotely familiar to you at all?
Do you recognize this at all?
The shock of her death froze something in me. The child I loved was gone, but I kept looking for her - long after I had left my own childhood behind. The poison was in the wound, you see. And the wound wouldn't heal.
I looked and looked at her, and I knew, as clearly as I know that I will die, that I loved her more than anything I had ever seen or imagined on earth. She was only the dead-leaf echo of the nymphet from long ago - but I loved her, this girl, pale and polluted and big with another man's child. She could fade and wither - I didn't care. I would still go mad with tenderness at the mere sight of her face.
What I heard then was the melody of children at play. Nothing but that. And I knew that the hopelessly poignant thing was not her absence from my side, but the absence of her voice from that chorus.
The first correct answer will earn ten points.
Good luck to you!
Does this sound or look remotely familiar to you at all?
Those are all quotes from the movie Lolita. All said by Humbert...
Reply:When you pick a best answer can I let me know where that excerpt is from? I never heard it but I like it! Thank you.
Peace:
Amanda
The shock of her death froze something in me. The child I loved was gone, but I kept looking for her - long after I had left my own childhood behind. The poison was in the wound, you see. And the wound wouldn't heal.
I looked and looked at her, and I knew, as clearly as I know that I will die, that I loved her more than anything I had ever seen or imagined on earth. She was only the dead-leaf echo of the nymphet from long ago - but I loved her, this girl, pale and polluted and big with another man's child. She could fade and wither - I didn't care. I would still go mad with tenderness at the mere sight of her face.
What I heard then was the melody of children at play. Nothing but that. And I knew that the hopelessly poignant thing was not her absence from my side, but the absence of her voice from that chorus.
The first correct answer will earn ten points.
Good luck to you!
Does this sound or look remotely familiar to you at all?
Those are all quotes from the movie Lolita. All said by Humbert...
Reply:When you pick a best answer can I let me know where that excerpt is from? I never heard it but I like it! Thank you.
Peace:
Amanda
Video Gamers, does this picture look familiar?
http://img.photobucket.com/albums/v83/lg...
is this picture dealing with video games or is it a sad face?
Video Gamers, does this picture look familiar?
It is from the toy "Transformers" and I think comic book series. They used it as their logo. Im not sure if its a video game but there is a good michael bay movie coming out on july 4th called "Transformers" They are basically about cool looking cars turning into these super powerful robots that shot guns and rockets.
Reply:Looks like Transformer
Reply:It's the Autobot's logo from The Transformers. In this case, I think it's probably from Transformers: The Movie. The Autobot's logo is usually red, and since this is silver, it's probably from the movie.
Reply:Its the emblem for the Autbots on Transformers
Reply:Sure looks like Transformers. XD
Reply:TRANSFORMERS!!!
Reply:transformmers robots in disquise
Reply:no
Reply:Thats from Transformers. Its a TV show/coming out as a movie. Thats the sign 4 the Autobots/the good guys. The Decepticons are the bad guys.
Reply:Actually, that's the Autobot's Symbol. They are the good guys in the Transformers series.
Reply:It is the Evil Transformers thingy logo.
Reply:It the transformers symbol, orginally a Japanese thing, it started as a cartoon series here in America in the late 80's into the 90's. I think there is an upcoming movie too.
is this picture dealing with video games or is it a sad face?
Video Gamers, does this picture look familiar?
It is from the toy "Transformers" and I think comic book series. They used it as their logo. Im not sure if its a video game but there is a good michael bay movie coming out on july 4th called "Transformers" They are basically about cool looking cars turning into these super powerful robots that shot guns and rockets.
Reply:Looks like Transformer
Reply:It's the Autobot's logo from The Transformers. In this case, I think it's probably from Transformers: The Movie. The Autobot's logo is usually red, and since this is silver, it's probably from the movie.
Reply:Its the emblem for the Autbots on Transformers
Reply:Sure looks like Transformers. XD
Reply:TRANSFORMERS!!!
Reply:transformmers robots in disquise
Reply:no
Reply:Thats from Transformers. Its a TV show/coming out as a movie. Thats the sign 4 the Autobots/the good guys. The Decepticons are the bad guys.
Reply:Actually, that's the Autobot's Symbol. They are the good guys in the Transformers series.
Reply:It is the Evil Transformers thingy logo.
Reply:It the transformers symbol, orginally a Japanese thing, it started as a cartoon series here in America in the late 80's into the 90's. I think there is an upcoming movie too.
Need help w/ CASE STUDY-familiar w/ Microbiology??HELP!?
Visiting a rainforest in Africa for the 1st time,that borders a river w/ plenty of mosqutoes%26amp; flies, tommy discovers weird plants and animals such as the "Mona" monkey which locals believe to be bad luck along with his visitor carl who is visiting africa for the 2nd time.The next day carl becomes sick %26amp; has a high fever, serious headache, face + tounge are bright red, and chills.Day 2 carl is laid out flat ont he bed barely able to move from terrible back pain, with bleeding gums, and vomiting blood. No "petechia" on legs and chest.Day 3 carl is better and moving about.Day 4 carl becomes ill and bumping into things and chanting lyrics to Beatles songs, skin funny yellow color%26amp; local nurse claims carl is going into shock. The whole time tommy remains healthy and doesn't get sick!
1)Taxonomy of suspected pathogen?
2)clinical name of condition?
3)Treatment and
4) how disease was contracted?..
Need help w/ CASE STUDY-familiar w/ Microbiology??HELP!?
I'm guessing it was Dengue (Yellow) fever, which is the clinical name, and it is contracted by mosquitoes. There are 4 types and it sounds like ol' Carl has the hemorrhagic type, good luck on the rest, hopefully you can figure it out since you're in the class!
Reply:You might suspect that Carl has malaria - you can look up information on malaria to see if it fits this situation. Whether or not Tommy is sick is probably irrelevant.
1)Taxonomy of suspected pathogen?
2)clinical name of condition?
3)Treatment and
4) how disease was contracted?..
Need help w/ CASE STUDY-familiar w/ Microbiology??HELP!?
I'm guessing it was Dengue (Yellow) fever, which is the clinical name, and it is contracted by mosquitoes. There are 4 types and it sounds like ol' Carl has the hemorrhagic type, good luck on the rest, hopefully you can figure it out since you're in the class!
Reply:You might suspect that Carl has malaria - you can look up information on malaria to see if it fits this situation. Whether or not Tommy is sick is probably irrelevant.
I am not not too familiar with this internet slang: so what is FWB?
I did understand what relationship meant, and no you're wrong I m not searching for that. I don't fall under no catagory, I am just facing some hard changes in my life. I have a guy (father of my children) who only thinks of sex. Who left me, his kids and have been total unresponsible for a time.
Who come back, and still think that sun rises and shines on him. The woman he left us for is still in his life, he denies it, but I feel it just as the day I did 2003 when he left. He's using our youngest daughter pregnancy at the time/ and now still as scapegoat. She can't see it, but I'll never deter her feeling toward her dad, cause she loves him. He's in a program to help get his life back on track, thats great. and because of my kids..ARE GrOwN now!!! and he wasnt there for the hard choices that we had to make as a family. That's ok...he wants us to relie on him now. I just want change for myself, and Im allowing that for me. He's accuse me, just yesterday of having an affair, I've NEVER had one while we were married since 1993 (we been together since my oldest was 5 and she's 26 now ) tho he's had numerous relationships, I can't count them all on on both hands. I have been tempted but there's been an trust issue. This last one he was with lasted the longest and that alone took its toll, but he's accusing me I know cause I don't know what place I am in life right now, so I not wanted to speak with no one for the past 2-3 weeks. I've allow myself to be treated as a doormat far too long, and I've become complacent. I'm not needed by my kids, cause they are adults now, it's always just been me and those kids, and I raised some pretty decent individuals, their not perfect cause we ALL aren't...so he's not either. I just want change for me. Anwering your ad and a few others, is attempt for me to try get on with situation of living MY LIFE, as I see fit now. Don't misinterpet what I'm trying to get accross.
So no I'm not seeking a booty-call, I'm not an miserable under sexed house wife, nor do I crave sex. I'm not secretive. Just as I said specified a cool fRiEnD. I am a 1 man's woman, but I'm not seeking an relationship with one and as far as FWB, goes I still don't know what it is, but figure it out.
I am not not too familiar with this internet slang: so what is FWB?
You have gone threw alot and as far as FWB it's Friend With Benifits :D Is that what your looking for??
free dental
Who come back, and still think that sun rises and shines on him. The woman he left us for is still in his life, he denies it, but I feel it just as the day I did 2003 when he left. He's using our youngest daughter pregnancy at the time/ and now still as scapegoat. She can't see it, but I'll never deter her feeling toward her dad, cause she loves him. He's in a program to help get his life back on track, thats great. and because of my kids..ARE GrOwN now!!! and he wasnt there for the hard choices that we had to make as a family. That's ok...he wants us to relie on him now. I just want change for myself, and Im allowing that for me. He's accuse me, just yesterday of having an affair, I've NEVER had one while we were married since 1993 (we been together since my oldest was 5 and she's 26 now ) tho he's had numerous relationships, I can't count them all on on both hands. I have been tempted but there's been an trust issue. This last one he was with lasted the longest and that alone took its toll, but he's accusing me I know cause I don't know what place I am in life right now, so I not wanted to speak with no one for the past 2-3 weeks. I've allow myself to be treated as a doormat far too long, and I've become complacent. I'm not needed by my kids, cause they are adults now, it's always just been me and those kids, and I raised some pretty decent individuals, their not perfect cause we ALL aren't...so he's not either. I just want change for me. Anwering your ad and a few others, is attempt for me to try get on with situation of living MY LIFE, as I see fit now. Don't misinterpet what I'm trying to get accross.
So no I'm not seeking a booty-call, I'm not an miserable under sexed house wife, nor do I crave sex. I'm not secretive. Just as I said specified a cool fRiEnD. I am a 1 man's woman, but I'm not seeking an relationship with one and as far as FWB, goes I still don't know what it is, but figure it out.
I am not not too familiar with this internet slang: so what is FWB?
You have gone threw alot and as far as FWB it's Friend With Benifits :D Is that what your looking for??
free dental
Just something I want to share..(for anyone familiar with the Madeleine McCann case)?
a movie (based on a book) called Gone Baby Gone was released in 2007-
When 4 year old Amanda McCready disappears from her home and the police make little headway in solving the case, the girl's aunt Beatrice McCready hires two private detectives Patrick Kenzie and Angie Gennaro. The detective freely admit that they have little experience with this type of case, but the family wants them for two reasons - they're not cops and they know the tough neighborhood in which they all live. As the case progresses, Kenzie and Gennaro face drug dealers, gangs and pedophiles. When they finally solve the case, they are faced with a moral dilemma that tears them apart. Written by garykmcd
to top that off, Amanda's, the little girl who goes missing, real name is Madeline!
This may be old news to some of you-sorry. but i just found out.
http://www.imdb.com/gallery/hh/2022453/H...
-Madeline O'Brien (actress)
http://mozillalinks.org/wp/wp-content/up...
-Madeleine McCann
Just something I want to share..(for anyone familiar with the Madeleine McCann case)?
ooohhhh.... spooky.....
Reply:That is coincidential and quite eerie. They look so much alike.
Reply:Just gone on to utorrents and am downloading from Minova.
Looks good and must admit it is very strange
Reply:first I heard of it. thanks for sharing
Reply:aww i wanna see it..
When 4 year old Amanda McCready disappears from her home and the police make little headway in solving the case, the girl's aunt Beatrice McCready hires two private detectives Patrick Kenzie and Angie Gennaro. The detective freely admit that they have little experience with this type of case, but the family wants them for two reasons - they're not cops and they know the tough neighborhood in which they all live. As the case progresses, Kenzie and Gennaro face drug dealers, gangs and pedophiles. When they finally solve the case, they are faced with a moral dilemma that tears them apart. Written by garykmcd
to top that off, Amanda's, the little girl who goes missing, real name is Madeline!
This may be old news to some of you-sorry. but i just found out.
http://www.imdb.com/gallery/hh/2022453/H...
-Madeline O'Brien (actress)
http://mozillalinks.org/wp/wp-content/up...
-Madeleine McCann
Just something I want to share..(for anyone familiar with the Madeleine McCann case)?
ooohhhh.... spooky.....
Reply:That is coincidential and quite eerie. They look so much alike.
Reply:Just gone on to utorrents and am downloading from Minova.
Looks good and must admit it is very strange
Reply:first I heard of it. thanks for sharing
Reply:aww i wanna see it..
Help!!! St. Louis (or familiar with) residents only please??? serious answers only please!!?
Hi. I am a 25 yr old white female (i have no children) but live with my parents. i get abused by my brother who lives here (punched in the face, kicked, choked). i am trying to move to st. louis. but dont have no job or any money. can i please have the names of any shelters or anywhere that would possibly take me in until i can get a job. finding a job for me should be easy but i have no where to stay until then. i have no family or friends in my life that can or will help!!! i hope you can help. names of places and phone numbers would be helpful!!! thanks for your help!!!
Help!!! St. Louis (or familiar with) residents only please??? serious answers only please!!?
Missouri Coalition Against Domestic Violence Jefferson City MO 65101 (314)634-4161
Belton Victim Advocate Program Belton MO 64012 Business #: 616-331-5522
Tri-County Council Against Domestic Violence Bowling Green MO 63334 Business #: 314-324-2231
Women's Crisis Center of Taney County, Inc. P.O. Box 282 Branson MO 65615 Business #: 417-335-3197 Hotline/Crisis: 417-335-3197
Citizens Against Domestic Violence P.O. Box 673 Camdenton MO 65020 Business #: 314-346-2633
Safe House for Women, Inc. P.O. Box 1167 Cape Girardeau MO 63702 Business #: 314-335-7745 Hotline/Crisis: 314-651-1614
Prison: Patch P.O. Box 37 Cedar City MO 65022 Business #: 314-251-4748
YWCA Women's Resource Center Clayton MO 63105 Business #: 314-726-6665
The Shelter P.O. Box 1367 Columbia MO 65205 Business #: 314-875-1369 Hotline/Crisis: 314-875-1370 Toll Free #: (800)548-2480
Casa Guadalup, Family Growth Center P.O. Box 417 Ellington MO 63638 Business #: 314-663-2720 Hotline/Crisis: 314-663-2720
Comtrea Community Mental Health Center: A Safe Place Shelter P.O. Box 519 Festus MO 63028 Business #: 314-337-0200 Hotline/Crisis: 314-931-2700
HAVEN Against Violent Environments Now, Inc. Florissant MO 63031 Business #: 314-837-6767
Planned Parenthood Fulton MO 65251 Business #: 314-642-7688
AVENUES P.O. Box 284 Hannibal MO 63401 Business #: 314-221-2093 Hotline/Crisis: 314- 221-2093 Toll Free #: (800)678-7713
Texas County Child Advocacy Council P.O. Box 190 Houston MO 65483 Business #: 417-967-4551
Hope House P.O. Box 1170 Independence MO 64051 Business #: 816-461-4188 Hotline/Crisis: 461-HOPE
Rape %26amp; Abuse Crisis Service P.O. Box 416 Jefferson City MO 65102 Business #: 314-634-8346 Hotline/Crisis: 314-634-4911
Lafayette House 1809 Connor Joplin MO 64804 Business #: 417-782-1772 Hotline/Crisis: 417-782-1772
Domestic Violence Victim Witness Assis. Pro. Kansas City MO 64106 Business #: 816-274-1517
Family Advocacy Network, Inc. Kansas City MO 64111 Business #: 816-753-5818
NEWHOUSE P.O. Box 240019 Kansas City MO 64124 Business #: 816-231-7378 Hotline/Crisis: 816-241-0311
Parents Anonymous of Kansas City Kansas City MO 64108 Business #: 816-472-4490 Hotline/Crisis: 816-474-4588
Project Assist/Legal Aid of Western Missouri Kansas City MO 64106 Business #: 816-474-6750
Rose Brooks Center, Inc. P.O. Box 10453 Kansas City MO 64171 Business #: 816-861-3460 Hotline/Crisis: 816-861-6100
SafeHaven of Kansas City, Inc. Kansas City MO 64116 Business #: 816-454-3581 Hotline/Crisis: 816-452-8535
Harbor Lights Shelter Program from Domestic Violence P.O. Box 398 Kimberling City MO 65686 Business #: 417-739-2118 Hotline/Crisis: 417-739-2118
Victim Support Services P.O. Box 439 Kirksville MO 63501 Business #: 816-665-0021 Hotline/Crisis: 816-665-1617
Council to Prevent Family Violence of Laclede Cty. P.O. Box 1281 Lebanon MO 65536 Business #: 417-532-2885 Hotline/Crisis: 417-588-9773 Toll Free #: (800)588-9773
Liberty Shelter/The Children's Place P.O. Box 207 Maiden MO 63863 Business #: 314-276-5500 Hotline/Crisis: 314-276-2955
Audrian County Crisis Intervention Services P.O. Box 181 Mexico MO 65265 Business #: 314-581-5280 Hotline/Crisis: 314-581-2280 Toll Free #: 800-246-2280
The Agape House, Inc. of Mountain View P.O. Box 550 Mountain View MO 65548 Business #: 417-934-1811 Hotline/Crisis: 417-934-1811
Council on Families in Crisis Nevada MO 64771 Business #: 417-667-7171 Hotline/Crisis: 417-667-3733 Toll Free #: (800)398-4271
People Against Domestic Violence New Haven MO 63068 Business #: 314-237-3605
Hope Haven of Cass County Pleasant Hill MO 64080 Business #: 816-884-6033
Haven House, Inc. P.O. Box 4875 Poplar Bluff MO 63901 Business #: 314-686-4873 Hotline/Crisis: 314-686-4873 Toll Free #: (800)491-1138
Hopeful Expectations Rolla MO 65401 Business #: 314-634-2440
Russell House Phelps Cnty Family Crisis Service P.O. Box 2259 Rolla MO 65401 Business #: 314-364-0579 Hotline/Crisis: 314-364-0222
CASA (Citizens Against Spouse Abuse) Inc. P.O. Box 1371 Sedalia MO 65302 Business #: 816-827-5559 Hotline/Crisis: 816-827-5555 Toll Free #: (800)894-1151
Family Violence Center, Inc. P.O. Box 5972 Springfield MO 65801 Business #: 417-865-0373 Hotline/Crisis: 417-865-1728 Toll Free #: (800)831-6863
St. Charles Victim of Crime Assist Program St. Charles MO 63301 Business #: 314-947-2646
The Women's Center P.O. Box 51 Business #: 314-946-6854 Hotline/Crisis: 314-946-6854
YWCA Shelter for Abused Women and their Children St. Joseph MO 64501 Business #: 816-232-4481 Hotline/Crisis: 816-232-1225
ALIVE P.O. Box 11201 St. Louis MO 63105 Business #: 314-993-7080 Hotline/Crisis: 314-993-2777
Educational Center on Family Violence St. Louis MO 63116 Business #: 314-771-1116
Kathy J. Weinman Shelter for Battered Women and their Children P.O. Box 5852 St. Louis MO 63134 Business #: 314-423-1117 Hotline/Crisis: 314-423-1117
Legal Advocates for Abused Women St. Louis MO 63108 Business #: 314-454-6940 Hotline/Crisis: 314-454-6910 Toll Free #: (800)444-0514
New Life Style Program St. Louis MO 63108 Business #: 314-531-5391
Rape and Violence End Now (RAVEN) St. Louis MO 63143 Business #: 314-645-2492 Hotline/Crisis: 314-645-2075
St. Louis Circuit Attorney's Service St. Louis MO 63103 Business #: 314-622-4373
St. Martha's Hall P.O. Box 4950 St. Louis MO 63108 Business #: 314-533-1313 Hotline/Crisis: 314-533-1313
The Women's Safe House P.O. Box 63010 St. Louis MO 63163 Business #: 314-772-4535 Hotline/Crisis: 314-772-4535
Victim Service Council St. Louis MO 63105 Business #: 314-889-3075
Women's Self Help Center St. Louis MO 63103 Business #: 314-531-9100 Hotline/Crisis: 531-2003
YWCA Transitional Housing Program St. Louis MO 63103 Business #: 314-533-9400 Hotline/Crisis: 314-533-9400
North Central Missouri Women's and Children's Abuse Shelter P.O. Box 30 Trenton MO 64683 Business #: 816-359-3297 Toll Free #: (800)942-0649
Survial P.O. Box 344 Warrensburg MO 64093 Business #: 816-429-1088 Hotline/Crisis: 816-429-2847
Pulaski County Crisis Center P.O. Box 4177 Waynesville MO 65583 Business #: 314-774-2628
Christos House P.O. Box 822 West Plains MO 65775 Business #: 417-256-9255 Hotline/Crisis: 417-256-9255
Reply:I don't have any thing but i just want you to know that i will pray for you and i hope you will find some where to stay. good luck and GOD BLESS and you should pray and ask god for help.
Reply:There are several income-based apartment places near south st. louis around river des peres; easy access to working downtown. Here is one:
Cedar Creek Lodge Apartments
7866 Olde English Rd
St. Louis, MO 63123
also search www.apartments.com
www.webster.edu has a phone number of housing assistance that lists inexpensive apartments around the area (like $250 per month).
Reply:I think the list that Tom H just have you is awesome. I know this sounds simple and obvious, but I would contact the police and fire departments directly because they have more contact with these types of places and it might be less of a hassle then trying to call around yourself.
I hope everything works out for you. Sorry I could not be of more help.
Help!!! St. Louis (or familiar with) residents only please??? serious answers only please!!?
Missouri Coalition Against Domestic Violence Jefferson City MO 65101 (314)634-4161
Belton Victim Advocate Program Belton MO 64012 Business #: 616-331-5522
Tri-County Council Against Domestic Violence Bowling Green MO 63334 Business #: 314-324-2231
Women's Crisis Center of Taney County, Inc. P.O. Box 282 Branson MO 65615 Business #: 417-335-3197 Hotline/Crisis: 417-335-3197
Citizens Against Domestic Violence P.O. Box 673 Camdenton MO 65020 Business #: 314-346-2633
Safe House for Women, Inc. P.O. Box 1167 Cape Girardeau MO 63702 Business #: 314-335-7745 Hotline/Crisis: 314-651-1614
Prison: Patch P.O. Box 37 Cedar City MO 65022 Business #: 314-251-4748
YWCA Women's Resource Center Clayton MO 63105 Business #: 314-726-6665
The Shelter P.O. Box 1367 Columbia MO 65205 Business #: 314-875-1369 Hotline/Crisis: 314-875-1370 Toll Free #: (800)548-2480
Casa Guadalup, Family Growth Center P.O. Box 417 Ellington MO 63638 Business #: 314-663-2720 Hotline/Crisis: 314-663-2720
Comtrea Community Mental Health Center: A Safe Place Shelter P.O. Box 519 Festus MO 63028 Business #: 314-337-0200 Hotline/Crisis: 314-931-2700
HAVEN Against Violent Environments Now, Inc. Florissant MO 63031 Business #: 314-837-6767
Planned Parenthood Fulton MO 65251 Business #: 314-642-7688
AVENUES P.O. Box 284 Hannibal MO 63401 Business #: 314-221-2093 Hotline/Crisis: 314- 221-2093 Toll Free #: (800)678-7713
Texas County Child Advocacy Council P.O. Box 190 Houston MO 65483 Business #: 417-967-4551
Hope House P.O. Box 1170 Independence MO 64051 Business #: 816-461-4188 Hotline/Crisis: 461-HOPE
Rape %26amp; Abuse Crisis Service P.O. Box 416 Jefferson City MO 65102 Business #: 314-634-8346 Hotline/Crisis: 314-634-4911
Lafayette House 1809 Connor Joplin MO 64804 Business #: 417-782-1772 Hotline/Crisis: 417-782-1772
Domestic Violence Victim Witness Assis. Pro. Kansas City MO 64106 Business #: 816-274-1517
Family Advocacy Network, Inc. Kansas City MO 64111 Business #: 816-753-5818
NEWHOUSE P.O. Box 240019 Kansas City MO 64124 Business #: 816-231-7378 Hotline/Crisis: 816-241-0311
Parents Anonymous of Kansas City Kansas City MO 64108 Business #: 816-472-4490 Hotline/Crisis: 816-474-4588
Project Assist/Legal Aid of Western Missouri Kansas City MO 64106 Business #: 816-474-6750
Rose Brooks Center, Inc. P.O. Box 10453 Kansas City MO 64171 Business #: 816-861-3460 Hotline/Crisis: 816-861-6100
SafeHaven of Kansas City, Inc. Kansas City MO 64116 Business #: 816-454-3581 Hotline/Crisis: 816-452-8535
Harbor Lights Shelter Program from Domestic Violence P.O. Box 398 Kimberling City MO 65686 Business #: 417-739-2118 Hotline/Crisis: 417-739-2118
Victim Support Services P.O. Box 439 Kirksville MO 63501 Business #: 816-665-0021 Hotline/Crisis: 816-665-1617
Council to Prevent Family Violence of Laclede Cty. P.O. Box 1281 Lebanon MO 65536 Business #: 417-532-2885 Hotline/Crisis: 417-588-9773 Toll Free #: (800)588-9773
Liberty Shelter/The Children's Place P.O. Box 207 Maiden MO 63863 Business #: 314-276-5500 Hotline/Crisis: 314-276-2955
Audrian County Crisis Intervention Services P.O. Box 181 Mexico MO 65265 Business #: 314-581-5280 Hotline/Crisis: 314-581-2280 Toll Free #: 800-246-2280
The Agape House, Inc. of Mountain View P.O. Box 550 Mountain View MO 65548 Business #: 417-934-1811 Hotline/Crisis: 417-934-1811
Council on Families in Crisis Nevada MO 64771 Business #: 417-667-7171 Hotline/Crisis: 417-667-3733 Toll Free #: (800)398-4271
People Against Domestic Violence New Haven MO 63068 Business #: 314-237-3605
Hope Haven of Cass County Pleasant Hill MO 64080 Business #: 816-884-6033
Haven House, Inc. P.O. Box 4875 Poplar Bluff MO 63901 Business #: 314-686-4873 Hotline/Crisis: 314-686-4873 Toll Free #: (800)491-1138
Hopeful Expectations Rolla MO 65401 Business #: 314-634-2440
Russell House Phelps Cnty Family Crisis Service P.O. Box 2259 Rolla MO 65401 Business #: 314-364-0579 Hotline/Crisis: 314-364-0222
CASA (Citizens Against Spouse Abuse) Inc. P.O. Box 1371 Sedalia MO 65302 Business #: 816-827-5559 Hotline/Crisis: 816-827-5555 Toll Free #: (800)894-1151
Family Violence Center, Inc. P.O. Box 5972 Springfield MO 65801 Business #: 417-865-0373 Hotline/Crisis: 417-865-1728 Toll Free #: (800)831-6863
St. Charles Victim of Crime Assist Program St. Charles MO 63301 Business #: 314-947-2646
The Women's Center P.O. Box 51 Business #: 314-946-6854 Hotline/Crisis: 314-946-6854
YWCA Shelter for Abused Women and their Children St. Joseph MO 64501 Business #: 816-232-4481 Hotline/Crisis: 816-232-1225
ALIVE P.O. Box 11201 St. Louis MO 63105 Business #: 314-993-7080 Hotline/Crisis: 314-993-2777
Educational Center on Family Violence St. Louis MO 63116 Business #: 314-771-1116
Kathy J. Weinman Shelter for Battered Women and their Children P.O. Box 5852 St. Louis MO 63134 Business #: 314-423-1117 Hotline/Crisis: 314-423-1117
Legal Advocates for Abused Women St. Louis MO 63108 Business #: 314-454-6940 Hotline/Crisis: 314-454-6910 Toll Free #: (800)444-0514
New Life Style Program St. Louis MO 63108 Business #: 314-531-5391
Rape and Violence End Now (RAVEN) St. Louis MO 63143 Business #: 314-645-2492 Hotline/Crisis: 314-645-2075
St. Louis Circuit Attorney's Service St. Louis MO 63103 Business #: 314-622-4373
St. Martha's Hall P.O. Box 4950 St. Louis MO 63108 Business #: 314-533-1313 Hotline/Crisis: 314-533-1313
The Women's Safe House P.O. Box 63010 St. Louis MO 63163 Business #: 314-772-4535 Hotline/Crisis: 314-772-4535
Victim Service Council St. Louis MO 63105 Business #: 314-889-3075
Women's Self Help Center St. Louis MO 63103 Business #: 314-531-9100 Hotline/Crisis: 531-2003
YWCA Transitional Housing Program St. Louis MO 63103 Business #: 314-533-9400 Hotline/Crisis: 314-533-9400
North Central Missouri Women's and Children's Abuse Shelter P.O. Box 30 Trenton MO 64683 Business #: 816-359-3297 Toll Free #: (800)942-0649
Survial P.O. Box 344 Warrensburg MO 64093 Business #: 816-429-1088 Hotline/Crisis: 816-429-2847
Pulaski County Crisis Center P.O. Box 4177 Waynesville MO 65583 Business #: 314-774-2628
Christos House P.O. Box 822 West Plains MO 65775 Business #: 417-256-9255 Hotline/Crisis: 417-256-9255
Reply:I don't have any thing but i just want you to know that i will pray for you and i hope you will find some where to stay. good luck and GOD BLESS and you should pray and ask god for help.
Reply:There are several income-based apartment places near south st. louis around river des peres; easy access to working downtown. Here is one:
Cedar Creek Lodge Apartments
7866 Olde English Rd
St. Louis, MO 63123
also search www.apartments.com
www.webster.edu has a phone number of housing assistance that lists inexpensive apartments around the area (like $250 per month).
Reply:I think the list that Tom H just have you is awesome. I know this sounds simple and obvious, but I would contact the police and fire departments directly because they have more contact with these types of places and it might be less of a hassle then trying to call around yourself.
I hope everything works out for you. Sorry I could not be of more help.
Does this poem sound familiar?
One day when you feel alone
Remember i'm at the end of a phone
I love you loads
And that must show
I want to let all the world to no
I have a friend, that is you
I love you for all you do
Your face so sweet and your heart so gentle
Keeping me together when i'm going mental
Telling me you love me and that you hold me tight
Being there for me even in the night
Thank you friend you mean a lot to me
Maybe now you'll see
How much you mean to me
Does this poem sound familiar?
Nope not really. Its a good poem though, where ever it comes from.
Reply:i think i heard it before, i may have read it in one of the poetry books in my school library.
Reply:Heh Well I've read similar but that's okay there is nothing new under the sun right?..I think this is cute and I hope no one will mention the anything like typos because that's not what you wanted to know..just saying...sorry that annoys me to no end...
Remember i'm at the end of a phone
I love you loads
And that must show
I want to let all the world to no
I have a friend, that is you
I love you for all you do
Your face so sweet and your heart so gentle
Keeping me together when i'm going mental
Telling me you love me and that you hold me tight
Being there for me even in the night
Thank you friend you mean a lot to me
Maybe now you'll see
How much you mean to me
Does this poem sound familiar?
Nope not really. Its a good poem though, where ever it comes from.
Reply:i think i heard it before, i may have read it in one of the poetry books in my school library.
Reply:Heh Well I've read similar but that's okay there is nothing new under the sun right?..I think this is cute and I hope no one will mention the anything like typos because that's not what you wanted to know..just saying...sorry that annoys me to no end...
Anyone who is familiar with LASER HAIR REMOVAL, please answer my question!!!?
Today I had my second session of laser to remove my facial hair. On the first session, he did it everywhere on my face. But, on the second one, he did everything except the nose and the forehead. OK, so maybe I'm not so hairy in these areas, but he did it the first time. When the session was drawing to a close, I reminded him to do the nose and the forehead as he did it before, and he said that the numbing cream was not put on these areas today, hence he would touch on these areas on the next session, next month. It was clearly a mistake on the part of the assistant who didn't properly apply the numbing cream evenly.
My question is whether the hair on the untouched follicles today will lag behind the others that were touched by the laser, improvementwise.
It's said that lasers catch thicker hair better, and therefore take only a few sessions. The finer the hair, the more sessions. So, will it take longer for the nose and forehead hair to stop growing?
Anyone who is familiar with LASER HAIR REMOVAL, please answer my question!!!?
I am gettin done laser on my face too....last time the same thing happened to me too...My doc doesnt use any kind of gel on me.:( (i dont know why).but last time she forgot to do my lower lip,,,i was all done and the doc had taken another patient when i realise she missed my lower lip. I didnt leave,why should I,i have paid for full service.So,as soon as she was done i went to her n got it done,,the doc look kinda irritated,,but who cares,i want my work done properly.
You should have stayed there and shld have asked them to do the part that were not done..bcuz its not your fault its their fault they didnt do there work done properly.....and YES the untouched hair will lag behind and u will have to pay extra for one more session.
so my dear sister next time you go ,,YOU make sure they are doing the work right...cuz they dont have anything to lose,,u will lose ur money n time.
Reply:the second session should be the same as the first... isn't that the reason for the second session anyway... now this may just add on at least 1 more session...1 more expensive session. You definitely should talk to your Dr. make another appt as soon as possible to laser the areas missed in the second session, so the regrowth is relatively even... you shouldn't have to pay for it.. in the future.. pay close attention to exactly where the numbing cream is applied.... and that those areas are treated during the appropriate session
Reply:A FRIEND OF MINE HAS HAD LASER HAIR REMOVAL AND I'M SORRY TO TELL YOU THAT SHE IS NOT AT ALL SATISFIED. HAIR REMAINS GROWING EVEN THOUGH SHE'S BEEN GOING FOR THE LAST YEAR OR SO. MY OPINION SAVE YOUR MONEY AND TRY WITH WAX IN THE MOST OBVIOUS PLACES.
Reply:hi i got a question if you just went with this boy and your not ready to be his girlfriend what should you do?
Reply:Laser hair removal is “permanent” hair removal method but is expensive and you have to find a trained professional, otherwise your skin could be damaged.
A review of the various hair removal methods is available at http://tinyurl.com/ob6tt
dental offices
My question is whether the hair on the untouched follicles today will lag behind the others that were touched by the laser, improvementwise.
It's said that lasers catch thicker hair better, and therefore take only a few sessions. The finer the hair, the more sessions. So, will it take longer for the nose and forehead hair to stop growing?
Anyone who is familiar with LASER HAIR REMOVAL, please answer my question!!!?
I am gettin done laser on my face too....last time the same thing happened to me too...My doc doesnt use any kind of gel on me.:( (i dont know why).but last time she forgot to do my lower lip,,,i was all done and the doc had taken another patient when i realise she missed my lower lip. I didnt leave,why should I,i have paid for full service.So,as soon as she was done i went to her n got it done,,the doc look kinda irritated,,but who cares,i want my work done properly.
You should have stayed there and shld have asked them to do the part that were not done..bcuz its not your fault its their fault they didnt do there work done properly.....and YES the untouched hair will lag behind and u will have to pay extra for one more session.
so my dear sister next time you go ,,YOU make sure they are doing the work right...cuz they dont have anything to lose,,u will lose ur money n time.
Reply:the second session should be the same as the first... isn't that the reason for the second session anyway... now this may just add on at least 1 more session...1 more expensive session. You definitely should talk to your Dr. make another appt as soon as possible to laser the areas missed in the second session, so the regrowth is relatively even... you shouldn't have to pay for it.. in the future.. pay close attention to exactly where the numbing cream is applied.... and that those areas are treated during the appropriate session
Reply:A FRIEND OF MINE HAS HAD LASER HAIR REMOVAL AND I'M SORRY TO TELL YOU THAT SHE IS NOT AT ALL SATISFIED. HAIR REMAINS GROWING EVEN THOUGH SHE'S BEEN GOING FOR THE LAST YEAR OR SO. MY OPINION SAVE YOUR MONEY AND TRY WITH WAX IN THE MOST OBVIOUS PLACES.
Reply:hi i got a question if you just went with this boy and your not ready to be his girlfriend what should you do?
Reply:Laser hair removal is “permanent” hair removal method but is expensive and you have to find a trained professional, otherwise your skin could be damaged.
A review of the various hair removal methods is available at http://tinyurl.com/ob6tt
dental offices
Does this sound familiar?
Okay lately almost every single day for the past two weeks I've almost passed out. I'm out of breathe. I can not speak properly. I have been having trouble remembering things. I stutter a lot. I have never done drugs before. I thought at first i was feeling this way because i had a long period which lasted six to seven days. I'm not on my period anymore and almost everyday I feel like passing out. I'm very weak and tired. I abstained from meat for maybe about two weeks prior to my illness incidents. I must admit that my diet is not healthy at all. Some days two meals or even all. I have no appetite to eat. I have booked an appointment this week. In addition, when I feel like passing out my face, especially my cheeks, become very hot. I have firing headaches. I have not been sleeping as well either. I'm under some kind of stress. Is this a reaction to a lot of stress? or am i truly ill? If so, what illnesses may I possibly have? I am sickle-cell carrier if that helps.
Does this sound familiar?
You are very likely anemic, due to a combination of not eating meat (without adding a supplement) and the sickle-cell. What happens in anemia is the body can't transport oxygen because of a problem with the red blood cells. That's why you can't breathe. Sickle-cells are anemic cells that are misshaped. They can pile up and block vessels. I see you made an appt. Until then, make sure you eat enough and have some meat or protein shake or something. You must eat a few good meals a day. If you are concerned about weight (which you haven't mentioned), eat lots of veggies, fruits, and rice. At the doctor's, talk to them about how to eliminate meat from your diet without becoming anemic. This a common mistake made by many first-time vegetarians.
Reply:This sounds exactly like a gradual starvation. I believe you are anorexic and looking for reasons other than your refusal to eat to blame for your problems. Grow up, accept some responsibility for your health, and get help for anorexia.
Reply:I definitely think it's a good idea that you are seeing your doctor. It could be a couple of things: low blood pressure, anemia, or low blood sugar are a few. Each of these can easily be checked by your doctor. Good luck.
Reply:Sounds like low blood and lack of red meat intake.
Get u some B12 vitamins to replace the meats u missin.
U are normal, just u need to change diets and eat iron rich foods like beets, raisins, take some pms pills.
Reply:that sounds like anorexia to me, and those are the symptoms i had. I was not even aware of the fact that i was suffering from a mental illness, but therapy really did help, and I learned to cope with my problems better, and eat right too.
Does this sound familiar?
You are very likely anemic, due to a combination of not eating meat (without adding a supplement) and the sickle-cell. What happens in anemia is the body can't transport oxygen because of a problem with the red blood cells. That's why you can't breathe. Sickle-cells are anemic cells that are misshaped. They can pile up and block vessels. I see you made an appt. Until then, make sure you eat enough and have some meat or protein shake or something. You must eat a few good meals a day. If you are concerned about weight (which you haven't mentioned), eat lots of veggies, fruits, and rice. At the doctor's, talk to them about how to eliminate meat from your diet without becoming anemic. This a common mistake made by many first-time vegetarians.
Reply:This sounds exactly like a gradual starvation. I believe you are anorexic and looking for reasons other than your refusal to eat to blame for your problems. Grow up, accept some responsibility for your health, and get help for anorexia.
Reply:I definitely think it's a good idea that you are seeing your doctor. It could be a couple of things: low blood pressure, anemia, or low blood sugar are a few. Each of these can easily be checked by your doctor. Good luck.
Reply:Sounds like low blood and lack of red meat intake.
Get u some B12 vitamins to replace the meats u missin.
U are normal, just u need to change diets and eat iron rich foods like beets, raisins, take some pms pills.
Reply:that sounds like anorexia to me, and those are the symptoms i had. I was not even aware of the fact that i was suffering from a mental illness, but therapy really did help, and I learned to cope with my problems better, and eat right too.
Military Records? Anyone familiar on how to get these?
My father was in the Korean War and believes there is public information on the WWW that provides where and what time he served and what ranks he held while in the Army. Is this public information? Is there a resource someone can direct me to? i would love to make my father happy and put a smile on his face - any assistance would be greatly appreciated - thanks!
Military Records? Anyone familiar on how to get these?
http://www.archives.gov/veterans/militar... Hope this helps.
Reply:National Personnel Records Center, St. Louis
http://www.archives.gov/st-louis/index.h...
Reply:The best thing to do is go to any veterans service organization such as disabled american veterans or your local veterans service office. There is quite a bit of paper work involved but they can help you get the answers. As far as the web goes I am not sure if there is any information there but go to usgov.gov and look for military affairs and see. also you can look up the veterans administration on the web or call them directly to see what is available.
Reply:There are also many many websites that are accepting pics and looking for veterans of those wars also. If is interested in that aspect also.
http://www.b-29s-over-korea.com/wayland_...
http://www.kwva.org/
I was privileged to talk to wayland mayo and he was always interested in talking to previous vets.
Military Records? Anyone familiar on how to get these?
http://www.archives.gov/veterans/militar... Hope this helps.
Reply:National Personnel Records Center, St. Louis
http://www.archives.gov/st-louis/index.h...
Reply:The best thing to do is go to any veterans service organization such as disabled american veterans or your local veterans service office. There is quite a bit of paper work involved but they can help you get the answers. As far as the web goes I am not sure if there is any information there but go to usgov.gov and look for military affairs and see. also you can look up the veterans administration on the web or call them directly to see what is available.
Reply:There are also many many websites that are accepting pics and looking for veterans of those wars also. If is interested in that aspect also.
http://www.b-29s-over-korea.com/wayland_...
http://www.kwva.org/
I was privileged to talk to wayland mayo and he was always interested in talking to previous vets.
Does this sound familiar(another WQ inside)?
Rock n' sock connection
rock n' rave infection
Do u think tna stole this from wwe?
here's another WQ:
When/If WWE signs Ron Killings to a contract how do u think they will use him?(like what division, face/heel, etc.)
Does this sound familiar(another WQ inside)?
tna is a copycat...that's why i dont liike it
WQ:HE NEED TO BE IN THE TITLE PICTURE
Reply:TNA is just a big rip off of the WWE.
Killings could do really well in the WWE, but im sure they will waste his talent and put him on ECW.
Reply:sounds fishy lol tna always does that
wq: Well I think he should be in the world title picture but they might make him u.s. champ or something like that
rock n' rave infection
Do u think tna stole this from wwe?
here's another WQ:
When/If WWE signs Ron Killings to a contract how do u think they will use him?(like what division, face/heel, etc.)
Does this sound familiar(another WQ inside)?
tna is a copycat...that's why i dont liike it
WQ:HE NEED TO BE IN THE TITLE PICTURE
Reply:TNA is just a big rip off of the WWE.
Killings could do really well in the WWE, but im sure they will waste his talent and put him on ECW.
Reply:sounds fishy lol tna always does that
wq: Well I think he should be in the world title picture but they might make him u.s. champ or something like that
A question for the Jews who are familiar with the Torah.?
I am asking this question because Christianity is welded to the Torah. And we too serve ONE God albeit in three presentations. GOD the father (The Holy of Holies) God the Son (Creator and Redeemer) God the Holy Spirit (Power and Preserver)
We trace God’s declaration that He is one God but plural in Nature to the scripture in_ Genesis1:26 “Let US make man in OUR image after OUR likeness.”
How do you explain this startling revelation in a way that doesn’t do violence to other scriptures related to God? For instance, the scriptures say no man can see God’s face and live. Moses and the 70 Elders saw Him in Exodus24:9-11
It says that Moses and the Elders SAW God and God did not lay his hand on them. Now some may see a contradiction. No man can see God and live but these men were clearing eyeballing God. That’s just one of the scriptures that slowly peel off the three persons of the God head. We Christians believe they saw Jesus (God the Creator and Redeemer) As the Redeemer; He was able to show God’s grace. No One is pure enough to look on the face of God the Father (The Holy of Holies). But that’s our story, how do you guys address this paradox?
A question for the Jews who are familiar with the Torah.?
I am not a Jew, but I read the Commentary of the Jewish New Testament awhile ago.
In it, the author said that the Bible is clear in several places that God is one.
But the Bible is also clear in several places that God is more than one.
Reply:....but G-d did kill the elders and Nadab and Abihu. At this point in the Exodus they were kind of celebrating with G-d and G-d did not want to 'spoil the moment' per se, so He waited until later --Nadab and Abihu at the dedication of the Mishkan and the elders until Numbers. Moses could see G-d, that's one of the things that makes him the greatest prophet.
According to Judaism, three gods in one just isn't possible. Sorry.
Tim, there is no Jewish New Testament. Also, when the Bible says "Let US make man..." G-d is talking to the court of the angels. Angels are also made in the image of G-d. So it is also their image. Hence ours.
Another way we can tell that G-d is always singular is that in Hebrew, the verb and noun have to agree. Take 'boy wants.' In Hebrew, it's yeled rotzeh. Now take 'boys want.' In Hebrew, it's yeledim rotzim. This is how it goes. However, there are nouns known as irregulars where they deviate from the normal path. Elokim is one of them. How do we know it's always singular? The verb is always always always singular when referring to G-d. So the noun is singular even with the irregularity.
Reply:The word "Elohim" is a plural- but it is always referring to a singular being e.g. "Diber" he spoke, no "Dabru"- they spoke. "Vayomer" - and he said, not "vayomru" - and they said. So we know that while God may have multiple aspects (and thus why he has so many names, since each aspect is unique and thus has a name) he is a singular being and is never divided, we just perceive different aspects.
As for Genesis 1:26- there are two commonly given explanations:
1) from the Midrash Rabbah and has been stated here by others- he is talking to the angels of the heavenly, just as a king consults his ministers, but then acts alone- for in the next verse it uses the word "vayivrah"- and he created, not "vayivru"- they created, showing that a singular God created man, nobody and nothing else was involved.
2) He is talking to mankind in the future. Since man is God's partner in creating the world, he addresses the future, hinting at how man will complete the creation of man, through the performance of Bris Milah (circumcision). This also explains why on the nect verse it has the singular, "Vaivrah", since mankind is not there to help him, he is only just creating him.
Moses saw only the back of God, and the hem of his robe, but he saw clearly. The elders of Israel did not have the power of prophecy that Moses did, they could only see an image of God as if it were through a sheet odf smoked glass- in otherwords, a weak and wavery image, they could not see any details or discern anything of God, merely his presence.
Reply:In "our" image -- God and the angels
OR the Royal "we."
We speak of many aspects of God.
.
Reply:The Book of Genesis contains several different strands, known as "traditions." The principal ones are J, P, and E, standing for Yahweh (the names were developed by a German, and Germans spell Yahweh as Jahweh). The J tradition is characterized by the use of that name for God, even before God revealed Himself to Moses on Sinai. The P tradition is traced to writings made by the Kahanes during the Babylonian Captivity, and it is preoccupied with the details of worship in the Temple and orderliness. Then there is the E tradition, so called because it uses the word "Elohim" for God. This name, Elohim, is found in many places in the Bible. One of the most interesting is the name of Elijah, which combines El and Jahweh into one name (Elijah = Yahweh is God).
Here's the point: Elohim is a plural noun. It takes a plural verb. Kind of like Victoria's statement "We are not amused," it's simply an artifact of ancient Hebrew grammar and the bizarre manner of speech handed down from Elizabethan and Jacobean England.
There are lots of contradictions and inconsistencies in the Bible. They result from the way in which the Bible came to be, i.e., it was compiled from many different oral and written traditions and revised, sometimes systematically, sometimes haphazardly. Look at the Book of Judges and ask yourself how could the same cities have been torn down so completely so many times.
Or look at the genealogies of Jesus in the Gospels. "Gospel" may be synonymous with "truth" in some people's minds, but the evangelists don't even agree on Jesus's ancestry.
To understand the text of the Bible is to understand that one must not become fixated on the text and instead pay attention to the message. (By the way, most Christians believe that creation was performed by the Father, either with the Son or through the Son: the Nicene Creed begins, I believe in one God, the Father Almighty, creator of Heaven and Earth; and in one Lord, His Son, Jesus Christ, begotten of the Father before all ages, God from God, Light from Light, True God from True God. Through him all things were made."
Now as far as seeing God is concerned, there are lots of different ways to understand the expression. However, there was a fairly universal understanding during the Axial Age that seeing God would make a human dead dead dead. The opening scene of Agamemnon has an open fire to represent what remains of Semele after she convinced Zeus to let her see him as he really was. She saw, she burned, and that's al; Aeschylus wrote.
Reply:“Let US make man in OUR image after OUR likeness.”
Explanation - this creation myth was borrowed from the Sumerians. The other gods in attendance were probably Anu, Enlil, Enki and Ea.
Reply:In the verse you speak of, G-d is talking to the Heavenly Court (the angels). You should also know that the verb form used in the subsequent verses relating to G-d's actually creating things is in the singular, not the plural.
Give me a minute or two and I'll look up the Hebrew for the Exodus passage.
[edit] Ah, yes. The better translation of the Hebrew is "saw a vision of" rather than "saw". So there's no problem. See, for example, Ibn Ezra (Emunoth VeDeyoth 2:12), and also 1 Kings 22:19, 2 Chronicles 18:18, Isaiah 6:1.
dental procedures
We trace God’s declaration that He is one God but plural in Nature to the scripture in_ Genesis1:26 “Let US make man in OUR image after OUR likeness.”
How do you explain this startling revelation in a way that doesn’t do violence to other scriptures related to God? For instance, the scriptures say no man can see God’s face and live. Moses and the 70 Elders saw Him in Exodus24:9-11
It says that Moses and the Elders SAW God and God did not lay his hand on them. Now some may see a contradiction. No man can see God and live but these men were clearing eyeballing God. That’s just one of the scriptures that slowly peel off the three persons of the God head. We Christians believe they saw Jesus (God the Creator and Redeemer) As the Redeemer; He was able to show God’s grace. No One is pure enough to look on the face of God the Father (The Holy of Holies). But that’s our story, how do you guys address this paradox?
A question for the Jews who are familiar with the Torah.?
I am not a Jew, but I read the Commentary of the Jewish New Testament awhile ago.
In it, the author said that the Bible is clear in several places that God is one.
But the Bible is also clear in several places that God is more than one.
Reply:....but G-d did kill the elders and Nadab and Abihu. At this point in the Exodus they were kind of celebrating with G-d and G-d did not want to 'spoil the moment' per se, so He waited until later --Nadab and Abihu at the dedication of the Mishkan and the elders until Numbers. Moses could see G-d, that's one of the things that makes him the greatest prophet.
According to Judaism, three gods in one just isn't possible. Sorry.
Tim, there is no Jewish New Testament. Also, when the Bible says "Let US make man..." G-d is talking to the court of the angels. Angels are also made in the image of G-d. So it is also their image. Hence ours.
Another way we can tell that G-d is always singular is that in Hebrew, the verb and noun have to agree. Take 'boy wants.' In Hebrew, it's yeled rotzeh. Now take 'boys want.' In Hebrew, it's yeledim rotzim. This is how it goes. However, there are nouns known as irregulars where they deviate from the normal path. Elokim is one of them. How do we know it's always singular? The verb is always always always singular when referring to G-d. So the noun is singular even with the irregularity.
Reply:The word "Elohim" is a plural- but it is always referring to a singular being e.g. "Diber" he spoke, no "Dabru"- they spoke. "Vayomer" - and he said, not "vayomru" - and they said. So we know that while God may have multiple aspects (and thus why he has so many names, since each aspect is unique and thus has a name) he is a singular being and is never divided, we just perceive different aspects.
As for Genesis 1:26- there are two commonly given explanations:
1) from the Midrash Rabbah and has been stated here by others- he is talking to the angels of the heavenly, just as a king consults his ministers, but then acts alone- for in the next verse it uses the word "vayivrah"- and he created, not "vayivru"- they created, showing that a singular God created man, nobody and nothing else was involved.
2) He is talking to mankind in the future. Since man is God's partner in creating the world, he addresses the future, hinting at how man will complete the creation of man, through the performance of Bris Milah (circumcision). This also explains why on the nect verse it has the singular, "Vaivrah", since mankind is not there to help him, he is only just creating him.
Moses saw only the back of God, and the hem of his robe, but he saw clearly. The elders of Israel did not have the power of prophecy that Moses did, they could only see an image of God as if it were through a sheet odf smoked glass- in otherwords, a weak and wavery image, they could not see any details or discern anything of God, merely his presence.
Reply:In "our" image -- God and the angels
OR the Royal "we."
We speak of many aspects of God.
.
Reply:The Book of Genesis contains several different strands, known as "traditions." The principal ones are J, P, and E, standing for Yahweh (the names were developed by a German, and Germans spell Yahweh as Jahweh). The J tradition is characterized by the use of that name for God, even before God revealed Himself to Moses on Sinai. The P tradition is traced to writings made by the Kahanes during the Babylonian Captivity, and it is preoccupied with the details of worship in the Temple and orderliness. Then there is the E tradition, so called because it uses the word "Elohim" for God. This name, Elohim, is found in many places in the Bible. One of the most interesting is the name of Elijah, which combines El and Jahweh into one name (Elijah = Yahweh is God).
Here's the point: Elohim is a plural noun. It takes a plural verb. Kind of like Victoria's statement "We are not amused," it's simply an artifact of ancient Hebrew grammar and the bizarre manner of speech handed down from Elizabethan and Jacobean England.
There are lots of contradictions and inconsistencies in the Bible. They result from the way in which the Bible came to be, i.e., it was compiled from many different oral and written traditions and revised, sometimes systematically, sometimes haphazardly. Look at the Book of Judges and ask yourself how could the same cities have been torn down so completely so many times.
Or look at the genealogies of Jesus in the Gospels. "Gospel" may be synonymous with "truth" in some people's minds, but the evangelists don't even agree on Jesus's ancestry.
To understand the text of the Bible is to understand that one must not become fixated on the text and instead pay attention to the message. (By the way, most Christians believe that creation was performed by the Father, either with the Son or through the Son: the Nicene Creed begins, I believe in one God, the Father Almighty, creator of Heaven and Earth; and in one Lord, His Son, Jesus Christ, begotten of the Father before all ages, God from God, Light from Light, True God from True God. Through him all things were made."
Now as far as seeing God is concerned, there are lots of different ways to understand the expression. However, there was a fairly universal understanding during the Axial Age that seeing God would make a human dead dead dead. The opening scene of Agamemnon has an open fire to represent what remains of Semele after she convinced Zeus to let her see him as he really was. She saw, she burned, and that's al; Aeschylus wrote.
Reply:“Let US make man in OUR image after OUR likeness.”
Explanation - this creation myth was borrowed from the Sumerians. The other gods in attendance were probably Anu, Enlil, Enki and Ea.
Reply:In the verse you speak of, G-d is talking to the Heavenly Court (the angels). You should also know that the verb form used in the subsequent verses relating to G-d's actually creating things is in the singular, not the plural.
Give me a minute or two and I'll look up the Hebrew for the Exodus passage.
[edit] Ah, yes. The better translation of the Hebrew is "saw a vision of" rather than "saw". So there's no problem. See, for example, Ibn Ezra (Emunoth VeDeyoth 2:12), and also 1 Kings 22:19, 2 Chronicles 18:18, Isaiah 6:1.
dental procedures
Anyone who is familiar with mac foundations???
I just recvd a mac moistureblend foundation in NC25 from Strawberrynet and I am questioning its authenticity. I have only been buying mac eyeshadows and lipglass from Myer and they have a sticker at the bottom with the colour the weight and they all say poids etc.This foundation has no sticker however it does have the reg design make-up art thingo written on the plastic.It didnt come in a box which i knew when i bought it. It is also airated at the bottom with little squares, it comes with a sponge in a bottom compartment. Im only asking because I dont want to put god knows what on my face if its fake. Thanks in advance :)
Anyone who is familiar with mac foundations???
the container sounds like it's real....that's the way that their containers look...however since it didn't come with a sticker and i can't actually see the package, there isn't a for sure way to tell.
if you don't care about not having a true, authentic mac foundation and still want to use the one you have, i would test it out on the back of my hand to make sure i didn't have some sort of a reaction, because as you said you don't want to put something on your face that you have no idea what it is. if nothing happens and it's your color, then i would say use it, but next time buy it online from mac!
:)
Reply:I have bought mac products for years and normally they all come in a box even the eye pencils - everything. Why don't you buy directly from the mac website I think they sell from the website? Hope this helps
I agree actually don't buy online, you need to see what it looks like
Reply:Don't buy makeup online.. you need to see what it looks like on your skin. And the color always looks differently on the computer screen and on your skin!
Throw it away!! Go to the MAC store!!
Anyone who is familiar with mac foundations???
the container sounds like it's real....that's the way that their containers look...however since it didn't come with a sticker and i can't actually see the package, there isn't a for sure way to tell.
if you don't care about not having a true, authentic mac foundation and still want to use the one you have, i would test it out on the back of my hand to make sure i didn't have some sort of a reaction, because as you said you don't want to put something on your face that you have no idea what it is. if nothing happens and it's your color, then i would say use it, but next time buy it online from mac!
:)
Reply:I have bought mac products for years and normally they all come in a box even the eye pencils - everything. Why don't you buy directly from the mac website I think they sell from the website? Hope this helps
I agree actually don't buy online, you need to see what it looks like
Reply:Don't buy makeup online.. you need to see what it looks like on your skin. And the color always looks differently on the computer screen and on your skin!
Throw it away!! Go to the MAC store!!
Acutaine, is anyone familiar with it?
I have had really bad acne since i was 12, i am now 26... i hear acutaine will clear in up in a few months and i will never have to worry again... sounds like an infomercial... i dont plan on having babies for a long time, and i know it dehydrates your body.. mostly face.... lips etc... any other major side effects? deaths? etc... anyone know how long pretty severe acne willl take to go away?? thanks and take care
Acutaine, is anyone familiar with it?
I'm 26 year old female finishing my second course of accutane. My story sounds pretty much like yours. Had acne since 11 but it didn't get really bad (cystic) until my early 20's. Tried every antibiotic, cream, everything.... The first time I took accutane my skin started to clear up immediately. By three months it looked so good I didn't even go back to the doc to actually finish treatement. Needless to say, acne came back in about 18 months (not as bad though). This was probably because I didn't do it the whole six months, so don't be like me and stop early even if your skin looks great. So now I'm on month five of this second round. Skin looks great. This time though my skin freaked out the first month and got worse and was flakey and red, but after a couple weeks it started to subside. Took about 2 - 3 months for it to actually clear up this time. Yeah, your lips get really really chapped after about a week of taking it. You will have lip balm everywhere you go. That's really the only side effect I have had. And my lips really aren't that bad anymore. I don't know if my body is getting used to it or I just don't notice it as much anymore. Good luck!
Reply:My step son has VERY BAD ACNE all over his face,back and scalp, he is in the Marine Corp. so they put him on accutane WOW what a difference, unfortunately his face does have scars on it because he would not do anything about it. Now his face is almost like New Trust me it works! Report It
Reply:I wouldn't take accutane no matter what my face looked like. That is a nasty drug with numerous side-effects and, for awhile, the FDA was thinking about removing it from the market. There are other alternatives for acne. Talk to your dermatologist about taking Minocycline and about the bazillions of creams and ointments that are out there. Good luck.
Reply:Before you do something too drastic and harmful to your body, as doing accutane. You should do a body/ organ cleanse. It really sounds like you need to start/ begin cleaning from the inside out. You need to do a colon, liver, kidney and blood cleanse. I had the same problem. I will be 26 3/23. I recommend Dr. Natura's Colonix and ToxinOut (which will accomplish all of the above). I really urge you to visit his site. Amongst all the colon cleanses out there this is the simplest, MOST EFFECTIVE, comprehensive colon and toxin cleanse on the market. This site is quite graphic and the truth is out there. After finishing at least 2 months, up to 3. One week after, do consecutive Liver Flushes( 5-15 two weeks apart). Look up Acne and Liver Flush and you'll see why I recommend this. There are different variations of the same L.F. recipe on the net. Do the one with Organic Apple Juice, Grapefruit, Extra Vigin Olive oil, and Epsom salt. Before you start polluting your body with Accutane, do a body cleanse....
Reply:I was the one in a thousand that it took several courses of accutane to work.but my acne was so bad i could not shave. bu it worked eventually. I have had friends who have had great success with one or two series of the 6 week dosage.So as long as you know 100% that you will not nor cannot get pregant go for it... it is a huge huge huge issue if you conceive a child-- so be CAREFUL. Birth defects are horrible.
Accutane is a form of vitamen A and just like taking high doses of A it will cause terrible birth defects= other thatn that the side effects are worth dealing with- though i must admit that I still use blistik because my lips tend to dry out once a week after all these years- maybe because Accugtane started me using it and it is habit forming or because it reset my chemical balance
either way it was worth all the hassle since the scarring was kept to a miniumum and my painful acne is gone..
Be smart and don't take achance on pregancy and you will be fine
Reply:Acutane can actually have some pretty severe side effects, can cause elevated liver enzymes, photosensitivity, I would talk to your doctor before trying it, it can be very effective, but it's not for everyone.
Acutaine, is anyone familiar with it?
I'm 26 year old female finishing my second course of accutane. My story sounds pretty much like yours. Had acne since 11 but it didn't get really bad (cystic) until my early 20's. Tried every antibiotic, cream, everything.... The first time I took accutane my skin started to clear up immediately. By three months it looked so good I didn't even go back to the doc to actually finish treatement. Needless to say, acne came back in about 18 months (not as bad though). This was probably because I didn't do it the whole six months, so don't be like me and stop early even if your skin looks great. So now I'm on month five of this second round. Skin looks great. This time though my skin freaked out the first month and got worse and was flakey and red, but after a couple weeks it started to subside. Took about 2 - 3 months for it to actually clear up this time. Yeah, your lips get really really chapped after about a week of taking it. You will have lip balm everywhere you go. That's really the only side effect I have had. And my lips really aren't that bad anymore. I don't know if my body is getting used to it or I just don't notice it as much anymore. Good luck!
Reply:My step son has VERY BAD ACNE all over his face,back and scalp, he is in the Marine Corp. so they put him on accutane WOW what a difference, unfortunately his face does have scars on it because he would not do anything about it. Now his face is almost like New Trust me it works! Report It
Reply:I wouldn't take accutane no matter what my face looked like. That is a nasty drug with numerous side-effects and, for awhile, the FDA was thinking about removing it from the market. There are other alternatives for acne. Talk to your dermatologist about taking Minocycline and about the bazillions of creams and ointments that are out there. Good luck.
Reply:Before you do something too drastic and harmful to your body, as doing accutane. You should do a body/ organ cleanse. It really sounds like you need to start/ begin cleaning from the inside out. You need to do a colon, liver, kidney and blood cleanse. I had the same problem. I will be 26 3/23. I recommend Dr. Natura's Colonix and ToxinOut (which will accomplish all of the above). I really urge you to visit his site. Amongst all the colon cleanses out there this is the simplest, MOST EFFECTIVE, comprehensive colon and toxin cleanse on the market. This site is quite graphic and the truth is out there. After finishing at least 2 months, up to 3. One week after, do consecutive Liver Flushes( 5-15 two weeks apart). Look up Acne and Liver Flush and you'll see why I recommend this. There are different variations of the same L.F. recipe on the net. Do the one with Organic Apple Juice, Grapefruit, Extra Vigin Olive oil, and Epsom salt. Before you start polluting your body with Accutane, do a body cleanse....
Reply:I was the one in a thousand that it took several courses of accutane to work.but my acne was so bad i could not shave. bu it worked eventually. I have had friends who have had great success with one or two series of the 6 week dosage.So as long as you know 100% that you will not nor cannot get pregant go for it... it is a huge huge huge issue if you conceive a child-- so be CAREFUL. Birth defects are horrible.
Accutane is a form of vitamen A and just like taking high doses of A it will cause terrible birth defects= other thatn that the side effects are worth dealing with- though i must admit that I still use blistik because my lips tend to dry out once a week after all these years- maybe because Accugtane started me using it and it is habit forming or because it reset my chemical balance
either way it was worth all the hassle since the scarring was kept to a miniumum and my painful acne is gone..
Be smart and don't take achance on pregancy and you will be fine
Reply:Acutane can actually have some pretty severe side effects, can cause elevated liver enzymes, photosensitivity, I would talk to your doctor before trying it, it can be very effective, but it's not for everyone.
World history...anyone familiar with King Philip & Alexander?(10 points to first right answer)?
I have an assignment and in this passage I have to read I read it and some questions it answered but some didn't ,I tried contacting my teacher but he's out of town but i need to send this so I can start my other assignments -I have a deadline for myself so if any of you can help I'd appreciate that:
35. What were Philip's plans after he conquered Greece?
36. What happened before Philip could complete these plans?
37. Who took over Philip's kingdom?
38. How did Alexander gain the loyalty of his troops?
39. Describe the odds against the Greeks as they faced the Persian army.
40. How did Alexander acquire money and supplies?
41. Why did Alexander turn back after reaching India?
42. When did Alexander die, and how?
43. What happened to his empire? Why do you think this happened?
44. Why is Alexander the Great so important to cultural historians?
45. What word is used to describe this Greek culture?
46. The cultural effect of Alexander's empire is an example of what geographic theme? (HINT: Go back to Unit One!!)
47. Who was Alexander's tutor as a boy?
48. What effect do you think his tutor had on Alexander's cultural achievements as king?
World history...anyone familiar with King Philip %26amp; Alexander?(10 points to first right answer)?
35) To invade Persia.
36) He was assassinated.
37) His eldest son Alexander.
38) By leading in the front and fighting with them.
39) The Persian army was more than three times as large as the Macedonian/Greek army under Alexander.
40) He had his men forage for food and sold off much of what he captured.
41) He was injured, was defeated for the first time, and there was political turmoil in his new empire.
42) June 10 or 11, 323 b.c. His death is still a mystery. But he is believed to have been poisoned.
43) It was divided amongst his top generals. Because a line of succession could not be established and no one could agree on who to be king from that group. So they each took a portion to the fighting to bring peace to people and honor Alexander.
44) Because he defied the odds. He conquered the world's premier power and established a Greek influence and civilization on far reaching people.
45) Hellenistic culture.
46) Place. His empire was sitting on the center of trade routes, and at the center for a cross of cultures.
47) Aristotle
48) Aristotle taught Alexander how to be a king and how to govern. He also taught him that as a king he must be kind to those he ruled, and to be strong and use his intelligence to outsmart his enemies.
Reply:well to correct spencers #41 he wasnt defeated, there wasnt much of a battle, what happened was alexanders army was taking too long to put up the ladders to siege the high walls, so alexander grabbed a ladder and climbed to the top and over the walls himself, he was the first one over, and not long after he shot with an arrow, which almost killed, his men rushed to get alexander and then they had to leave, cuz alexander was clinging to life. there was no battle, had there been, alexander would have won
Reply:/;
35. What were Philip's plans after he conquered Greece?
36. What happened before Philip could complete these plans?
37. Who took over Philip's kingdom?
38. How did Alexander gain the loyalty of his troops?
39. Describe the odds against the Greeks as they faced the Persian army.
40. How did Alexander acquire money and supplies?
41. Why did Alexander turn back after reaching India?
42. When did Alexander die, and how?
43. What happened to his empire? Why do you think this happened?
44. Why is Alexander the Great so important to cultural historians?
45. What word is used to describe this Greek culture?
46. The cultural effect of Alexander's empire is an example of what geographic theme? (HINT: Go back to Unit One!!)
47. Who was Alexander's tutor as a boy?
48. What effect do you think his tutor had on Alexander's cultural achievements as king?
World history...anyone familiar with King Philip %26amp; Alexander?(10 points to first right answer)?
35) To invade Persia.
36) He was assassinated.
37) His eldest son Alexander.
38) By leading in the front and fighting with them.
39) The Persian army was more than three times as large as the Macedonian/Greek army under Alexander.
40) He had his men forage for food and sold off much of what he captured.
41) He was injured, was defeated for the first time, and there was political turmoil in his new empire.
42) June 10 or 11, 323 b.c. His death is still a mystery. But he is believed to have been poisoned.
43) It was divided amongst his top generals. Because a line of succession could not be established and no one could agree on who to be king from that group. So they each took a portion to the fighting to bring peace to people and honor Alexander.
44) Because he defied the odds. He conquered the world's premier power and established a Greek influence and civilization on far reaching people.
45) Hellenistic culture.
46) Place. His empire was sitting on the center of trade routes, and at the center for a cross of cultures.
47) Aristotle
48) Aristotle taught Alexander how to be a king and how to govern. He also taught him that as a king he must be kind to those he ruled, and to be strong and use his intelligence to outsmart his enemies.
Reply:well to correct spencers #41 he wasnt defeated, there wasnt much of a battle, what happened was alexanders army was taking too long to put up the ladders to siege the high walls, so alexander grabbed a ladder and climbed to the top and over the walls himself, he was the first one over, and not long after he shot with an arrow, which almost killed, his men rushed to get alexander and then they had to leave, cuz alexander was clinging to life. there was no battle, had there been, alexander would have won
Reply:/;
Are these symptoms familiar?
my 13 year old son has really weird behavior,first he is almost obsessed with cartoon(anything fictional that has to do with sorcery)he is always laughing and seems to not be able to stop playing even at serious times.he laughs alot,and only looks to befriend children that are younger than him because that behaviour is quite normal to them,he is very hyperactive,he will make noises with anyobject he can find expl...tapping on the tabel,knocking his knucles together,anything that makes noises he will constantly do without end,he has to hear noises he says,he said he cant stand take silence.he constantly pickes on his younger brothers,just to hear noise it seems,he always has this daised look on his face when i look at him,hard to have eye contact with him,and his eyes are always red.i took him to his pediatrician 2 years ago and she said he seems fine because he doesnt display this behavior in public,although i've been told he is quite weird.any professionals out there can help with thi
Are these symptoms familiar?
I hate to tell you this but some of this sounds very familiar to me. Try some different professionals because if you feel in your heart that there is a problem, then there probably is. Sometimes the "professional" can't properly diagnose because these kids choose to be on their best behavior when you take them in there, and they are actually trying to analyze the current situation or the doctor. Good Luck
Reply:TAKE THE CHILD TO A DOCTOR, TWO YEARS AGO HAS BEEN A LONG TIME. CONTINUE UNTIL YOU FIND ONE THAT WILL HELP HIM. IF HE IS ON MEDICATION, WHICH I'M ASSUMING HE'S NOT SINCE IT BE TWO YEARS .THE NOISE HE MAKES AND TAPPING ON TABLE ETC.SOUND LIKE HE HAS ATTENTION DEFICIT DISORDER AND HYPER WITH IT. HE SHOULD BE REAL ACTIVE, SUCH AS BOUNCING OFF THE WALL AS THE SAYING GOES. I THINK HE NEEDS A MEDICAL DOCTOR FOR MEDICINE AND A PSYCHOLOGIST
Reply:SOUNDS BIPOLAR DEPRESSION, I HAVE THE SAME EXACT ISSUES , I ONLY LIKE BEFRIENDING PEOPLE YOUNGER THAN MYSELF , I AM HYPER ALOT AT TIMES.. I ALWAYS HAVE TO MAKE SOUNDS , LIKE SLAPPING MYSELF , FOR NO REASON
I AM BIPOLAR , BY THE WAY!
Reply:Stop feeding your kid junk food and coke. Sounds like he's permanently overdosing on E-numbers and sugar. And get him into some sports to burn off excess energy.
Don't be too fast to let some quack stick a label on him and tranq him up. :)
Reply:My personal opinion:
He just sounds like a kid to me. I know other kids who sounded like this, puberty happens at different times. Maybe hes just not into things other 13 yr olds do. It also sounds like add or adhd. But becareful to diagnose him. I think too many parent jump to medical conclusions.
Good luck.
Reply:This is a very good blog, a beginner’s guide to abnormal psychology.
Short, clear and simple; and you can even post your question and contact the author regarding particular subject you are interested in, for FREE
http://sensitive-psychoworld.blogspot.co...
Reply:Try asking your pediatrician to refer you to a child psychologist for a more complete evaluation. I have seen these symtoms before and think this should be your next step not diagnoses by email.
sweet tooth
Are these symptoms familiar?
I hate to tell you this but some of this sounds very familiar to me. Try some different professionals because if you feel in your heart that there is a problem, then there probably is. Sometimes the "professional" can't properly diagnose because these kids choose to be on their best behavior when you take them in there, and they are actually trying to analyze the current situation or the doctor. Good Luck
Reply:TAKE THE CHILD TO A DOCTOR, TWO YEARS AGO HAS BEEN A LONG TIME. CONTINUE UNTIL YOU FIND ONE THAT WILL HELP HIM. IF HE IS ON MEDICATION, WHICH I'M ASSUMING HE'S NOT SINCE IT BE TWO YEARS .THE NOISE HE MAKES AND TAPPING ON TABLE ETC.SOUND LIKE HE HAS ATTENTION DEFICIT DISORDER AND HYPER WITH IT. HE SHOULD BE REAL ACTIVE, SUCH AS BOUNCING OFF THE WALL AS THE SAYING GOES. I THINK HE NEEDS A MEDICAL DOCTOR FOR MEDICINE AND A PSYCHOLOGIST
Reply:SOUNDS BIPOLAR DEPRESSION, I HAVE THE SAME EXACT ISSUES , I ONLY LIKE BEFRIENDING PEOPLE YOUNGER THAN MYSELF , I AM HYPER ALOT AT TIMES.. I ALWAYS HAVE TO MAKE SOUNDS , LIKE SLAPPING MYSELF , FOR NO REASON
I AM BIPOLAR , BY THE WAY!
Reply:Stop feeding your kid junk food and coke. Sounds like he's permanently overdosing on E-numbers and sugar. And get him into some sports to burn off excess energy.
Don't be too fast to let some quack stick a label on him and tranq him up. :)
Reply:My personal opinion:
He just sounds like a kid to me. I know other kids who sounded like this, puberty happens at different times. Maybe hes just not into things other 13 yr olds do. It also sounds like add or adhd. But becareful to diagnose him. I think too many parent jump to medical conclusions.
Good luck.
Reply:This is a very good blog, a beginner’s guide to abnormal psychology.
Short, clear and simple; and you can even post your question and contact the author regarding particular subject you are interested in, for FREE
http://sensitive-psychoworld.blogspot.co...
Reply:Try asking your pediatrician to refer you to a child psychologist for a more complete evaluation. I have seen these symtoms before and think this should be your next step not diagnoses by email.
sweet tooth
Is anyone familiar with Konstantin Stanislavski???
Can anyone take notes on this:
BUILDING A CHARACTER
Constantin Stanislavski
CHAPTER FOURTEEN
Toward an Ethics for the Theatre
I
“THE TIME has now come to speak of one more element,” Tortsov began today, “contributing to a creative dramatic state. It is produced by the atmosphere surrounding an actor on the stage and by the atmosphere in the auditorium. We call it ethics, discipline, and also the sense of joint enterprise in our theatre work.
“All these things taken together create an artistic animation, an attitude of readiness to work together. It is a state which is favorable to creativeness. I do not know how else to describe it.
“It is not the creative state itself but it is one of the main factors contributing to it. It prepares and facilitates that state.
“I shall call it ethics in the theatre because it plays an important part in preparing us in advance for our work. Both the factor itself and what it produces in us and for us are significant because of the peculiarities of our profession.
“A writer, a composer, a painter, a sculptor are not pressed for time. They can work when and where they find it convenient to do so. They have the free disposal of their time.
“This is not the case with an actor. He has to be ready to produce at a fixed hour as advertised. How can he order himself to be inspired at a given time? It is far from simple.
“He needs order, discipline, a code of ethics not only for the general circumstances of his work, but also and especially for his artistic and creative purposes.
“The first condition towards the bringing about of this preliminary state is to follow the principle I have aimed at: Love art in yourself and not yourself in art.
“The career of an actor,” Tortsov went on, “is a splendid one for those who are devoted to it and understand and see it in the true light.”
“What if an actor does not do this ?“ one of the students asked.
“That is unfortunate because it will cripple him as a human being. Unless the theatre can ennoble you, make you a better person, you should flee from it,” Tortsov replied.
“Why?” we asked in chorus.
“Because there are a lot of bacilli in the theatre, some are good and some are extremely harmful. The good bacilli will further the growth in you of a passion for what is fine, elevating, for great thoughts and feelings. They will help you to commune with the great geniuses such as Shakespeare, Pushkin, Gogol, Moliere. Their creations and traditions live in us. In the theatre you will also meet modern writers and representatives of all branches of art, science, of social science, of poetic thought.
“This select company will teach you to understand art and the essential meaning at its core. That is the principal thing about art, therein lies its greatest fascination.”
“Exactly in what?” I asked.
“In coming to know, in working on, studying your art, its bases, methods and technique of creativeness,” explained Tortsov.
“Also in the torments and joys of creation, which we all feel as a group.
“And in the joys of accomplishment, which renew the spirit and lend it wings!
“Even in the doubts and failures, for in them also lies a stimulus to new struggles, strength for new work and fresh discoveries.
“There is too an esthetic satisfaction which is never altogether complete and it provokes and arouses new energy.
“How much of life there is in all this!”
“What about success ?“ I enquired rather shyly.
“Success is transient, evanescent,” answered Tortsov. “The real passion lies in the poignant acquisition of knowledge about all the shadings and subtleties of the creative secrets.
“Meantime do not forget the bad, the dangerous, corrupting bacilli of the theatre. It is not surprising that they thrive there; there are too many temptations in our theatre world.
“An actor is on view every day before an audience of a thousand spectators from such and such an hour to such and such an hour. He is surrounded by the magnificent trappings of a production, set against the effective background of painted scenery, dressed often in rich and beautiful clothes. He speaks the soaring lines of geniuses, he makes picturesque gestures, graceful motions, produces impressions of startling beauty—which in large measure are brought about by artful means. Always being in the public eye, displaying his or her best aspects, receiving ovations, accepting extravagant praise, reading glowing criticisms—all these things and many more of the same order constitute immeasurable temptations.
“These breed in an actor the sense of craving for constant, uninterrupted titillation of his personal vanity. But if he lives only on that and similar stimuli he is bound to sink low and become trivial. A serious minded person could not be entertained for long by such a life, yet a shallow one is enthralled, debauched, destroyed by it. That is why in our world of the theatre we must learn to hold ourselves well in check. We have to live by rigid discipline.
“If we keep our theatre free from all types of evil we, by the same token, bring about conditions favorable to our own work in it. Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing—all the things that ruin your life and draw your attention away from your art.”
“Excuse me for pointing this out,” interrupted Grisha, “but no such theatre exists in the world.”
“Unfortunately you are right,” admitted Tortsov. “People are so stupid and spineless that they still prefer to introduce petty, humdrum bickerings, spites and intrigues into the place supposedly reserved for creative art.
“They do not seem to be able to clear their throats before they cross the threshold of the theatre, they come inside and spit on the clean floor. It is incomprehensible why they do this!
“It is all the more reason why you should be the ones to discover the right, the high minded significance of the theatre and its art. From the very first steps you take in its service train yourselves to come into the theatre with clean feet.
“Our illustrious forbears in acting have summed this attitude up in the following way:
“A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theatre. An actor who is incapable of this feeling will never be a
true artist!”
2
A great deal of discussion was caused in the theatre by a scandal in connection with one of the actors. He was severely reprimanded and warned that he would be dismissed if he repeated the intolerable offense.
Grisha had as usual a lot to say on the subject:
“I for one don’t think the management has any right to mix into an actor’s private life!”
Whereupon some of the others asked Tortsov to explain his point of view to us.
“Does it not seem irrational to you to tear down with one hand what you are trying to build up with the other? Yet many actors do that very thing. On the stage they make every effort to convey beautiful and artistic impressions and then, as soon as they step down from the boards, almost as though they had been intent on spoofing their spectators who a moment ago were admiring them, they do their best to disillusion them. I can never forget the bitter pain caused me in my youth by a famous visiting star. I shall not tell you his name because I do not want to dim his glory for you.
“I was present at an unforgettable performance. The impression he made on me was so tremendous I did not feel I could go home alone. I felt the necessity to discuss my experience with someone. So a friend and I went together to a restaurant. When we were in the midst of an excited conversation who should come in but our genius. We could not restrain ourselves, we rushed up to him and unloosed the floodgates of our enthusiasm. The great man invited us to join him at supper in a private room and there before our very eyes he proceeded to drink himself into a bestial state. Under the gloss was hidden such human corruption, such revolting boastfulness, deceit, gossip—all the attributes of a vulgar showoff. On top of that he refused to pay his bill for the wine he had consumed. It took us a long, long time to pay off this unexpected debt. And all the pleasure we got out of it was the privilege of conducting our belching and roaring host to his hotel where they were most unwilling to receive him in that disreputable drunken state.
“Mix together all the good and all the bad impressions which we received from that extraordinarily gifted man and try to determine what result you get.”
“Something like the hiccoughs you get from drinking champagne,” suggested Paul brightly.
“Well, mind you don’t have the same thing happen to you when you get to be famous actors,” said Tortsov.
“It is only when an actor is behind closed doors at home, in his most intimate circle, that he can let go. For his part is not played out when the curtain goes down. He is still bound in his everyday life to be the standard bearer of what is fine. Otherwise he will only destroy what he is trying to build. Remember this from the very beginning of your term of service to art and prepare yourselves for this mission. Develop in yourselves the necessary self- control, the ethics and discipline of a public servant destined to carry out into the world a message that is fine, elevating and noble.
“An actor, by the very nature of the art he serves, becomes a member of a large and complex organization—the theatre. Under its emblem and hallmark he represents it daily to thousands
nf spectators. Millions read daily in the papers about his work and activity in the institution of which he is a part. His name is so closely bound up with that of his theatre that it is scarcely possible to distinguish between them. Next to his family name that of this theatre belongs to him. In the mind of the public his artistic and his personal life are inextricably linked together. Therefore if an actor from the Art Theatre, the Maly, or another, commits a reprehensible act, any crime, is involved in any scandal, no matter what alibi he may offer, no matter what denial or explanation may be printed in the papers, he will be unable to wipe away the stain, the shadow, he has laid on his whole company, his theatre. This, therefore, obligates an actor to conduct himself worthily outside the walls of his theatre and to protect his good name both
on the boards and in his private life.”
3
“One of the measures calculated to insure order and a healthy atmosphere in the theatre is to reinforce the authority of the people, who for one reason or another, have been put in charge of the work.
“Before they are chosen and appointed you may argue, wrangle, and protest against one candidacy or another but once that person has been elected to a post of leadership or management it is up to you to support him in every possible way. That is only fair from the point of view of the common good. And the weaker he is the more you should support him. For if he does not enjoy any authority the main motive force of the group will become paralyzed. What becomes of a collective if it is deprived of the leader who initiates, pushes, and directs the common work? We love to decry, discredit, humiliate those whom we have raised to high places, or if a gifted person climbs above us we are ready to use all our strength to beat him down and yell at him: How dare you presume to stand over us, you climber! How many talented and useful people have been destroyed that way. A few, in spite of all obstacles, have achieved general recognition and admiration.
But on the whole the brazen ones, who usually succeed in bossing us, have all the luck. And we growl to ourselves and stand it because we find it hard to arrive at any Unanimity and we are afraid to overthrow those who terrorize us.
“In theatres, with few exceptions, this is vividly exemplified. The struggle for priority among actors, regisseurs, jealousy of each other’s success, divisions caused by differences in salaries
types of parts—all this is strongly developed in our line of work and constitutes its greatest evil. We cloak our ambition, jealousy, intrigues with all kinds of fine sounding phrases such as ‘enlightened competition,’ but all the time the atmosphere is filled with the poison gases of backstage back-biting.
“Out of fear of all competition and because of its narrow-minded envy actors meet any newcomer in their midst with fixed bayonets. If he can stand the test he is lucky. Yet how many are terrified, lose all faith in themselves, and go under?
“How close to animal psychology all this is!
“Once when I was sitting on the balcony of a house in a small provincial town I had an opportunity to watch some dogs. They also have their own limits, lines of demarcation which they are keen to maintain. If an outsider dares to overstep a certain bound and he is met by the combined curs of that particular district.
he succeeds in giving a good account of himself he wins recognition in the end and is accepted in the district into which he had intruded. Or he turns tail and flees, wounded and maimed, from his own fellow creatures,
“And it is this very form of brute psychology which is rampant, alas, in all theatres with few exceptions, and which must be destroyed. It is in force not only among newcomers but also among the groups of old timers. I have heard two great actresses going for each other not only backstage but during performances and in terms that a fishwife would envy. I have been witness to the conduct of two famous and talented actors who refused to enter the stage through one and the same wing or door. I have been told about two celebrated stars, a man and a woman, who for years played opposite each other without being on speaking terms. During rehearsal they communicated with one another through a third person. He would say to the man directing the play: ‘Tell her that she is talking nonsense,’ and she would reply through the same channel: ‘Tell him that he is acting like a boor.’
“Why is it that such talented people are willing to destroy the and fine work which they themselves originally built up? For the sake of personal, trivial, petty insult and misunderstandings? “Such are the suicidal depths to which actors sink if they are not able to overcome in time their bad professional instincts. I hope this will be an example and vivid warning to you.”
4
“Let us suppose that one actor in a well and carefully prepared production, either through laziness, neglect or inattentiveness, departs so far from the true performance of his part as to act in a purely routine, mechanical way. Has he the right to do this? After all, he was not alone in producing the play, he is not solely responsible for the work put in it. In such an enterprise one works for all and all for one. There ‘must be mutual responsibility and whoever betrays that trust must be condemned as a traitor.
“In spite of my great admiration for individual splendid talents, I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.
5
Our class was to meet for a rehearsal in one of the greenrooms backstage where the regular actors of the theatre company met their friends. Afraid of disgracing ourselves before them we asked Rakhmanov to give us some advice about how to act there.
To our surprise the Director himself appeared. He said that he had been much touched to hear of our serious attitude toward the rehearsal.
“You will realize what you need to do and how you should conduct yourselves if you bear in mind that this is a collective enterprise,” he said to us. “You are all going to be producing together, you will all be helping one another, all be dependent on one another. You will all be directed by one person, your regisseur.
“If there is orderliness and proper distribution of work, your collective effort will be pleasant and productive because it is based on mutual help. But if there is chaos and a wrong atmosphere for work then your collective enterprise can become a torture chamber, you will be getting in each other’s way, pushing each other around. It is clear therefore that you must all agree to establish and support discipline.”
p “How do we support it?”
“First of all, you arrive at the theatre on time, a half hour or a quarter of an hour before the rehearsal is called, in order to go over the elements which are necessary to establish your inner state.
“If even one person is late it upsets all the others. And if all are late your working hours will be frittered away in waiting instead
-f being applied to your job. That makes an actor wild and puts him in a condition where he is incapable of work. But if on the contrary you all have the right attitude towards your collective responsibilities and come to your rehearsal with proper preparation you will create a splendid atmosphere which will challenge and encourage you. Your work will go along hummingly because you are all helping each other.
“It is also important that you take the right attitude towards the object of each individual rehearsal.
“The great mass of actors have quite a wrong idea about their attitude toward rehearsals. They believe that they need work only at rehearsals and that they can be idle at home.
“Whereas this is not the case at all. The rehearsal merely clarifies the problems that an actor needs to work on at home. That is one reason why I place no confidence in actors who chatter a lot at rehearsals and do not make notes on planning their home-work.
“They pretend that they can remember everything without notes. Nonsense! Do they think that I do not know that they cannot possibly remember everything because, in the first place, the regisseur mentions so many details both major and minor that no memory could retain them, and, in the second place, they are dealing for the most part not with definite facts but with feelings stored up in emotion memory. To understand, to comprehend and recall them, the actor must find the appropriate word, expression, example, some means of description with the aid of which he will be able to evoke, to fix the sensation under discussion.
“He will have to think about it at home before he will be able to find it again and call it forth from his inner being. That is a tremendous piece of work. It requires great concentration in his work both at home and also at rehearsal when the actor first receives the comments of the regisseur.
“We, the regisseurs, know better than anyone else what credence to give to the assertions of inattentive actors. We are the ones who are obliged to repeat the same things to them over and over again.
“That kind of an attitude on the part of certain individuals toward a joint piece of work acts as a great brake. Seven will not wait for one. Remember that. Therefore work out for yourselves the right kind of artistic ethics and discipline. This will force you to prepare yourselves properly at home in advance of each rehearsal. Let it be a source of shame and badge of disloyalty to you before your whole group if you are the cause of making the regisseur repeat something he has already explained. You have no right to forget the regisseur’s remarks. You may not comprehend them all at once, you may have to return to them in order to study them more thoroughly, but you may not merely take them in one ear and send them out of the other. That is a crime against all the other workers in the theatre.
“Therefore, in order to avoid that misdemeanor, you must teach yourself how to work independently at home on your part. This is no easy task but it is something you must learn how to do thoroughly and well while you are in training here. Here I can take all the time which may be necessary to go into the details of that work but at rehearsals I cannot come back to these things without running the risk of their being turned into lessons. Out on the stage the demands made on you will be far stricter than in the class room. Bear this in mind and prepare yourselves for it.”
6
“How does a singer, a pianist, a dancer, start his day ?“ Tortsov asked at the beginning of today’s class.
“He gets up, bathes, dresses, has breakfast and at a time appointed for this purpose he begins his exercises. The singer vocalizes, the pianist plays his scales, the dancer hurries to the theatre, to his practice bar in order to keep his muscles in trim. This is done day after day, winter and summer. A day omitted is a day lost and a detriment to the art of the performer.
“Tolstoy, Chekhov and other great artists considered it a necessity to sit down every day at a given hour to write, if not on a novel or short story or play, at least in a diary, to record thoughts and observations. The main point was day by day to cultivate the most delicate and precise ways of rendering all the subtle intricacies of human thoughts and feelings, visual observations and emotional impressions.
“Ask any artist and he will tell you the same thing.
“Nor is that all: I know a surgeon (and surgery is also an art), who devotes all his free time to playing with the most delicate kind of oriental jackstraws. After tea, while conversing with others, he cleverly fishes out some item underneath a complicated pile of little sticks just to keep his hand in.
“And it is only the actor who, when he has gotten up in the morning, dressed and breakfasted, hurries out into the street or calls on friends or does other personal errands, because that is his free time.
“That may well be. But the singer, the concert pianist, the dancer do not have any more time. They have rehearsals, lessons, performances too.
“Nevertheless it is always the excuse of the actor, who neglects his home-work on the technique of his art, that he has ‘no time.’
“What a pity! As I have said before, an actor, more than any other special artist, is in need of that work at home. Whereas a singer has to be concerned only with his voice and breathing, a dancer with his physical apparatus, and a pianist with his hands r an instrumentalist with his breathing and lip technique—an actor is responsible for his arms, his legs, his eyes, his face, the plasticity of his whole body, his rhythm, his motion and all the program of our activities here in the school. These exercises do not stop with graduation, they go on through your whole lives as artists. And the older you get the more necessary it will be for you to point up your technique and consequently to maintain a system of regular work-outs.
“But since the actor has ‘no time’ for such practice his art at best will mark time or at worst run down hill because it consists of only an accidental technique drawn by necessity from unthinking, false, untrue, mechanical rehearsing or badly prepared public appearances.
“And yet an actor, especially the ones who complain most about lack of time, those who play roles of second or third in importance, actually have more freedom than anyone else active in various artistic professions.
“Just look at the schedule. Take an actor who plays in the mob scenes in, let us say, Tsar Fyodor. He must be ready by 7:30 p.m. He appears in the second scene (the reconciliation of Boris with Shuiski). Then there is an intermission. Do not think that the actor needs to use all of it to change his make-up and costume.
No, indeed! Most of the actors keep the same make-up and change only their outer garments. Let us assume that ten out of the fifteen minutes normally assigned to an intermission is used up.
“Following that is the short scene in the garden, a two minute wait and then the long scene in the Tsar’s chamber. It plays not less than half an hour, therefore if you add that to the intermission you have approximately thirty-five plus ten—forty-five minutes.
“Then come the other scenes which you can calculate for yourselves and arrive at a general sum total.
“That is how the matter stands for our colleagues who play in the mob scenes. There are also a number of actors who play bits or even larger parts which are episodic in character. After his episode is finished the actor is either free for the rest of the evening or he waits for another five minute appearance in the last act and the whole time is loafing around the dressing room and being bored.
“That is the way actors divide their time when engaged in one of the more complicated and large productions, like Tsar Fyodor.
“And now what about the large number of others who are not playing on this particular evening? They are free and they spend their time appearing in pot boiler performances. Let us make a note of that.
“So much for the evening occupations. What happens during the daytime at rehearsals? In some theatres, take ours for instance, rehearsals are called for eleven or twelve o’clock. Until then our actors are free. And that is only right for various reasons that are connected with the peculiarities of our lives. An actor’s performance finishes late, he is wrought up and it takes some time for him to calm down sufficiently to go to sleep. At an hour when most people are sound asleep our actor is playing the last and most difficult act of a tragedy. When he comes home he takes advantage of the quiet to concentrate, without being interrupted, on the new part he is preparing.
“So what is surprising about the fact that on the following morning when everyone else is already up and at work our tired actor is sound asleep after his long hours of wear and tear on his nerves?
“He has probably been on a spree—is what many say about us.
“And there are theatres, which pride themselves on keeping their actors on their toes with their iron discipline and model order—so-called. They have rehearsals at 9 a.m. (incidentally after finishing a Shakespearean tragedy at ii p.m. the previous evening).
“Such theatres, which boast of their organization, do not take their actors into consideration and in a way they are quite right. Actors in those theatres can die three times a day with utmost comfort and they can rehearse three different plays every morning.
“‘Tra-la-la. . . . boom, boom. . . .‘ the leading actress trills in a low voice to her partner in a scene, and adds: ‘I cross to the sofa and sit down!’
“To which the leading man replies in half tones: ‘Tra-la-la. .
boom, boom. . . .‘ etc., and then: ‘I cross to sofa, drop on one knee and kiss your hand!’
“It often happens when we are on our way to a rehearsal at noon that we meet an actor from one of those other theatres who is strolling around after a whole morning of rehearsals.
“‘Where are you off to?’ he asks. ‘To rehearsal.’ ‘What? At noon! At such a late hour!’ he exclaims not without irony and venom and obviously thinking to himself: ‘What a sleepyhead and shiftless creature!’, and then he says aloud: ‘What a way to run a theatre! Why, I have already finished my rehearsal. We ran through a whole play! We begin work at nine a.m.!’ This last is said with a touch of boastfulness by the mechanic-artist who measures with condescending eye our belated actor.
“But I have said enough. I already know in that instance what so-called ‘art’ is in question in those theatres.
“And now here is my problem: there are many managers in good theatres who are seriously trying to achieve a degree of genuine artistry who really believe that the so-called iron discipline and order of the mechanical actors is right and even ideal. How can such people, who judge the product and conditions of work of a real artist according to standards established by book-keepers, cashiers, and accountants, be put in charge of the direction of artistic accomplishment or even understand how it is to be carried on, how much nervous energy, life, and the highest spiritual outbursts are laid on the altar of their beloved art by true actors who ‘sleep until noon and are the cause of endless disorder in the schedules set up by the repertory office!’
“How can we get away from such managers with petty tradesman or bank clerk mentalities? Where are we to find people who understand and, above all, who sense what the main object of true artists is and how to deal with them?
“Meanwhile I am putting more and more pressure on these already over-burdened real artists, regardless of whether they are playing long or short parts: I am asking that they take their last remaining free time—the intermissions and the waits between their entrances and the hours between rehearsals—to work on their technique.
“For such work, as I proved to you by figures, there is plenty of time.”
“But you want to exhaust the poor actor, and take away his last breathing spell !“
“No, indeed, I assert. The most exhausting thing for an actor is to loaf around his dressing room waiting for his next entrance.”
7
“There are many actors and actresses who do not take creative initiative. They do not prepare their roles outside the theatre by letting their imaginations and subconscious play on the character they are to portray. They come to the rehearsal and wait around until they are led along a path of action. After a great effort the regisseur can sometimes succeed in striking sparks in such passive natures. Or these lazy persons may catch fire from watching others take hold, they may follow their lead and become infected with their feelings about the play. After a series of such vicarious sensations, if they have any gift at all, they may be able to arouse their own feelings and acquire a real grasp on their parts in their own right. Only we regisseurs know how much work, inventiveness, patience, nervous strength and time it takes to push such actors of weak creative impulse ahead, away from their dead center. Women, in such cases, are apt to excuse themselves charmingly and coquettishly by saying: How can I help it? I cannot act until I feel my part. As soon as the impulse comes everything will turn out all right. They say this with a touch of pride and boasting as though that procedure were a sure sign of inspiration and genius.
“Need I explain that all such drones, who profit by the work and creativeness of others, are an infinite drag on the accomplishment of the whole group? It is because of them that productions are often delayed for weeks before they can be released. They not only are slow in their own work but the cause of delay in that of others. Indeed the actors playing opposite them have to exert themselves to the utmost in order to overcome their inertia. This in turn produces overacting, ruins their parts especially if they are not any too secure in them anyway. When they do not get the right cues the conscientious actors make violent efforts to stir the initiative of the sluggish actors, thereby impairing the true quality of their own playing. They get themselves into an impossible state and instead of facilitating the performance they clog it up by making it necessary for the regisseur to deflect his attention away from the general to their particular needs. Consequently we see not only the one passive actress contributing exaggerated, false acting to the rehearsal instead of lifelike, true emotions, but also the men who are playing opposite her as well. It takes no more than two actors straying down the wrong path to deflect a third or even a fourth. In the end one actor can derail a whole performance that was running smoothly and send it tumbling down hill. Poor régisseur! Poor actors!
“You may say that it would have been better to dismiss those actors with undeveloped creative initiative and corresponding technique, but it is unfortunately true that among them there are a great many with talent. Less gifted actors would not dare to be so passive, whereas the more gifted ones, feeling unimpeded, allow themselves more leeway; they sincerely believe that they are in duty bound and indeed have the right to wait for the favorable wind, the rising tide of inspiration.
“From all of which it should be clear to you that no actor has a right to take advantage of the work of others during a rehearsal. He must provide his own living emotions with which to bring his own part to life. If every actor in a production would do that he would be helping not only himself but the work of the whole cast. If on the contrary each actor is going to depend on the others there will be a complete lack of initiative. The regisseur cannot do the work of everyone. An actor is not a puppet.
“So you see every actor is obliged to develop his own creative will and technique. He, along with all the others, is bound to do his own productive share of work at home and at rehearsal, always playing his part in the fullest tones of which he is capable.”
8
“The problem for our art and consequently for our theatre is— to create an inner life for a play and its characters, to express in physical and dramatic terms the fundamental core, the idea which impelled the writer, the poet, to produce his composition.
“Every worker in the theatre from the doorman, the ticket taker, the hat-check girl, the usher, all the people the public comes into contact with as they enter the theatre on up to the managers, the staff, and finally the actors themselves—they all are co-creators with the playwright, the composer, for the sake of whose play the audience assembles. They all serve, they all are subject to the fundamental aim of our art. They all, without exception, are participants in the production. Anyone who in any degree obstructs our common effort to carry out our basic aim should be declared an undesirable member of our community. If any of the staff out front greets any member of the audience inhospitably thereby ruining his good humor, he has struck a blow against our general objective and the goal of our art. If it is cold, dirty, untidy in the theatre, if the curtain is late in rising, if the performance drags— then the mood of the public is depressed, they arc not receptive to the main thoughts and feelings offered to them through the joint efforts of the playwright, the regisseur, the company and the actors. They feel they had no cause to come to the play, the performance is spoiled, and the theatre loses its social, artistic and educational significance.
“The playwright, the composer, the cast, all do their share to create the necessary atmosphere on their side of the footlights, and the administrative staff does its part in creating an appropriate mood in the audience and backstage where the actors are getting ready for a performance. The spectator as well as the actor is an active participant in a performance and therefore he too needs to be prepared for his part, he must be put in the proper mood in order to be receptive to the impressions and thoughts the playwright wishes to impart to him.
“This absolute dependence of all the workers in the theatre on the ultimate aim of our art remains in force not only during performances but also during rehearsals and even at other hours of the day and night. If for any reason a rehearsal is unproductive those who obstructed the work were undermining our general purpose. Artists can operate successfully only under certain necessary conditions. Anyone who upsets those conditions is being disloyal to his art and to the society of which he is a part. A bad rehearsal does harm to a part and a distorted part prevents an actor from conveying the thoughts of the playwright, in other words from accomplishing his main job.”
Is anyone familiar with Konstantin Stanislavski???
Are you asking us to pick this apart and take out the important information for you?
Look if you are serious about acting then only you can do the work. Read through it yourself and highlight the parts that stand out. If you don't do the research and the work yourself it is pointless and that means you are lazy and directors don't like lazy actors.
Reply:You're kidding right?
Tony
http://www.actingcareerstartup.com/teen_...
BUILDING A CHARACTER
Constantin Stanislavski
CHAPTER FOURTEEN
Toward an Ethics for the Theatre
I
“THE TIME has now come to speak of one more element,” Tortsov began today, “contributing to a creative dramatic state. It is produced by the atmosphere surrounding an actor on the stage and by the atmosphere in the auditorium. We call it ethics, discipline, and also the sense of joint enterprise in our theatre work.
“All these things taken together create an artistic animation, an attitude of readiness to work together. It is a state which is favorable to creativeness. I do not know how else to describe it.
“It is not the creative state itself but it is one of the main factors contributing to it. It prepares and facilitates that state.
“I shall call it ethics in the theatre because it plays an important part in preparing us in advance for our work. Both the factor itself and what it produces in us and for us are significant because of the peculiarities of our profession.
“A writer, a composer, a painter, a sculptor are not pressed for time. They can work when and where they find it convenient to do so. They have the free disposal of their time.
“This is not the case with an actor. He has to be ready to produce at a fixed hour as advertised. How can he order himself to be inspired at a given time? It is far from simple.
“He needs order, discipline, a code of ethics not only for the general circumstances of his work, but also and especially for his artistic and creative purposes.
“The first condition towards the bringing about of this preliminary state is to follow the principle I have aimed at: Love art in yourself and not yourself in art.
“The career of an actor,” Tortsov went on, “is a splendid one for those who are devoted to it and understand and see it in the true light.”
“What if an actor does not do this ?“ one of the students asked.
“That is unfortunate because it will cripple him as a human being. Unless the theatre can ennoble you, make you a better person, you should flee from it,” Tortsov replied.
“Why?” we asked in chorus.
“Because there are a lot of bacilli in the theatre, some are good and some are extremely harmful. The good bacilli will further the growth in you of a passion for what is fine, elevating, for great thoughts and feelings. They will help you to commune with the great geniuses such as Shakespeare, Pushkin, Gogol, Moliere. Their creations and traditions live in us. In the theatre you will also meet modern writers and representatives of all branches of art, science, of social science, of poetic thought.
“This select company will teach you to understand art and the essential meaning at its core. That is the principal thing about art, therein lies its greatest fascination.”
“Exactly in what?” I asked.
“In coming to know, in working on, studying your art, its bases, methods and technique of creativeness,” explained Tortsov.
“Also in the torments and joys of creation, which we all feel as a group.
“And in the joys of accomplishment, which renew the spirit and lend it wings!
“Even in the doubts and failures, for in them also lies a stimulus to new struggles, strength for new work and fresh discoveries.
“There is too an esthetic satisfaction which is never altogether complete and it provokes and arouses new energy.
“How much of life there is in all this!”
“What about success ?“ I enquired rather shyly.
“Success is transient, evanescent,” answered Tortsov. “The real passion lies in the poignant acquisition of knowledge about all the shadings and subtleties of the creative secrets.
“Meantime do not forget the bad, the dangerous, corrupting bacilli of the theatre. It is not surprising that they thrive there; there are too many temptations in our theatre world.
“An actor is on view every day before an audience of a thousand spectators from such and such an hour to such and such an hour. He is surrounded by the magnificent trappings of a production, set against the effective background of painted scenery, dressed often in rich and beautiful clothes. He speaks the soaring lines of geniuses, he makes picturesque gestures, graceful motions, produces impressions of startling beauty—which in large measure are brought about by artful means. Always being in the public eye, displaying his or her best aspects, receiving ovations, accepting extravagant praise, reading glowing criticisms—all these things and many more of the same order constitute immeasurable temptations.
“These breed in an actor the sense of craving for constant, uninterrupted titillation of his personal vanity. But if he lives only on that and similar stimuli he is bound to sink low and become trivial. A serious minded person could not be entertained for long by such a life, yet a shallow one is enthralled, debauched, destroyed by it. That is why in our world of the theatre we must learn to hold ourselves well in check. We have to live by rigid discipline.
“If we keep our theatre free from all types of evil we, by the same token, bring about conditions favorable to our own work in it. Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing—all the things that ruin your life and draw your attention away from your art.”
“Excuse me for pointing this out,” interrupted Grisha, “but no such theatre exists in the world.”
“Unfortunately you are right,” admitted Tortsov. “People are so stupid and spineless that they still prefer to introduce petty, humdrum bickerings, spites and intrigues into the place supposedly reserved for creative art.
“They do not seem to be able to clear their throats before they cross the threshold of the theatre, they come inside and spit on the clean floor. It is incomprehensible why they do this!
“It is all the more reason why you should be the ones to discover the right, the high minded significance of the theatre and its art. From the very first steps you take in its service train yourselves to come into the theatre with clean feet.
“Our illustrious forbears in acting have summed this attitude up in the following way:
“A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theatre. An actor who is incapable of this feeling will never be a
true artist!”
2
A great deal of discussion was caused in the theatre by a scandal in connection with one of the actors. He was severely reprimanded and warned that he would be dismissed if he repeated the intolerable offense.
Grisha had as usual a lot to say on the subject:
“I for one don’t think the management has any right to mix into an actor’s private life!”
Whereupon some of the others asked Tortsov to explain his point of view to us.
“Does it not seem irrational to you to tear down with one hand what you are trying to build up with the other? Yet many actors do that very thing. On the stage they make every effort to convey beautiful and artistic impressions and then, as soon as they step down from the boards, almost as though they had been intent on spoofing their spectators who a moment ago were admiring them, they do their best to disillusion them. I can never forget the bitter pain caused me in my youth by a famous visiting star. I shall not tell you his name because I do not want to dim his glory for you.
“I was present at an unforgettable performance. The impression he made on me was so tremendous I did not feel I could go home alone. I felt the necessity to discuss my experience with someone. So a friend and I went together to a restaurant. When we were in the midst of an excited conversation who should come in but our genius. We could not restrain ourselves, we rushed up to him and unloosed the floodgates of our enthusiasm. The great man invited us to join him at supper in a private room and there before our very eyes he proceeded to drink himself into a bestial state. Under the gloss was hidden such human corruption, such revolting boastfulness, deceit, gossip—all the attributes of a vulgar showoff. On top of that he refused to pay his bill for the wine he had consumed. It took us a long, long time to pay off this unexpected debt. And all the pleasure we got out of it was the privilege of conducting our belching and roaring host to his hotel where they were most unwilling to receive him in that disreputable drunken state.
“Mix together all the good and all the bad impressions which we received from that extraordinarily gifted man and try to determine what result you get.”
“Something like the hiccoughs you get from drinking champagne,” suggested Paul brightly.
“Well, mind you don’t have the same thing happen to you when you get to be famous actors,” said Tortsov.
“It is only when an actor is behind closed doors at home, in his most intimate circle, that he can let go. For his part is not played out when the curtain goes down. He is still bound in his everyday life to be the standard bearer of what is fine. Otherwise he will only destroy what he is trying to build. Remember this from the very beginning of your term of service to art and prepare yourselves for this mission. Develop in yourselves the necessary self- control, the ethics and discipline of a public servant destined to carry out into the world a message that is fine, elevating and noble.
“An actor, by the very nature of the art he serves, becomes a member of a large and complex organization—the theatre. Under its emblem and hallmark he represents it daily to thousands
nf spectators. Millions read daily in the papers about his work and activity in the institution of which he is a part. His name is so closely bound up with that of his theatre that it is scarcely possible to distinguish between them. Next to his family name that of this theatre belongs to him. In the mind of the public his artistic and his personal life are inextricably linked together. Therefore if an actor from the Art Theatre, the Maly, or another, commits a reprehensible act, any crime, is involved in any scandal, no matter what alibi he may offer, no matter what denial or explanation may be printed in the papers, he will be unable to wipe away the stain, the shadow, he has laid on his whole company, his theatre. This, therefore, obligates an actor to conduct himself worthily outside the walls of his theatre and to protect his good name both
on the boards and in his private life.”
3
“One of the measures calculated to insure order and a healthy atmosphere in the theatre is to reinforce the authority of the people, who for one reason or another, have been put in charge of the work.
“Before they are chosen and appointed you may argue, wrangle, and protest against one candidacy or another but once that person has been elected to a post of leadership or management it is up to you to support him in every possible way. That is only fair from the point of view of the common good. And the weaker he is the more you should support him. For if he does not enjoy any authority the main motive force of the group will become paralyzed. What becomes of a collective if it is deprived of the leader who initiates, pushes, and directs the common work? We love to decry, discredit, humiliate those whom we have raised to high places, or if a gifted person climbs above us we are ready to use all our strength to beat him down and yell at him: How dare you presume to stand over us, you climber! How many talented and useful people have been destroyed that way. A few, in spite of all obstacles, have achieved general recognition and admiration.
But on the whole the brazen ones, who usually succeed in bossing us, have all the luck. And we growl to ourselves and stand it because we find it hard to arrive at any Unanimity and we are afraid to overthrow those who terrorize us.
“In theatres, with few exceptions, this is vividly exemplified. The struggle for priority among actors, regisseurs, jealousy of each other’s success, divisions caused by differences in salaries
types of parts—all this is strongly developed in our line of work and constitutes its greatest evil. We cloak our ambition, jealousy, intrigues with all kinds of fine sounding phrases such as ‘enlightened competition,’ but all the time the atmosphere is filled with the poison gases of backstage back-biting.
“Out of fear of all competition and because of its narrow-minded envy actors meet any newcomer in their midst with fixed bayonets. If he can stand the test he is lucky. Yet how many are terrified, lose all faith in themselves, and go under?
“How close to animal psychology all this is!
“Once when I was sitting on the balcony of a house in a small provincial town I had an opportunity to watch some dogs. They also have their own limits, lines of demarcation which they are keen to maintain. If an outsider dares to overstep a certain bound and he is met by the combined curs of that particular district.
he succeeds in giving a good account of himself he wins recognition in the end and is accepted in the district into which he had intruded. Or he turns tail and flees, wounded and maimed, from his own fellow creatures,
“And it is this very form of brute psychology which is rampant, alas, in all theatres with few exceptions, and which must be destroyed. It is in force not only among newcomers but also among the groups of old timers. I have heard two great actresses going for each other not only backstage but during performances and in terms that a fishwife would envy. I have been witness to the conduct of two famous and talented actors who refused to enter the stage through one and the same wing or door. I have been told about two celebrated stars, a man and a woman, who for years played opposite each other without being on speaking terms. During rehearsal they communicated with one another through a third person. He would say to the man directing the play: ‘Tell her that she is talking nonsense,’ and she would reply through the same channel: ‘Tell him that he is acting like a boor.’
“Why is it that such talented people are willing to destroy the and fine work which they themselves originally built up? For the sake of personal, trivial, petty insult and misunderstandings? “Such are the suicidal depths to which actors sink if they are not able to overcome in time their bad professional instincts. I hope this will be an example and vivid warning to you.”
4
“Let us suppose that one actor in a well and carefully prepared production, either through laziness, neglect or inattentiveness, departs so far from the true performance of his part as to act in a purely routine, mechanical way. Has he the right to do this? After all, he was not alone in producing the play, he is not solely responsible for the work put in it. In such an enterprise one works for all and all for one. There ‘must be mutual responsibility and whoever betrays that trust must be condemned as a traitor.
“In spite of my great admiration for individual splendid talents, I do not accept the star system. Collective creative effort is the root of our kind of art. That requires ensemble acting and whoever mars that ensemble is committing a crime not only against his comrades but also against the very art of which he is the servant.
5
Our class was to meet for a rehearsal in one of the greenrooms backstage where the regular actors of the theatre company met their friends. Afraid of disgracing ourselves before them we asked Rakhmanov to give us some advice about how to act there.
To our surprise the Director himself appeared. He said that he had been much touched to hear of our serious attitude toward the rehearsal.
“You will realize what you need to do and how you should conduct yourselves if you bear in mind that this is a collective enterprise,” he said to us. “You are all going to be producing together, you will all be helping one another, all be dependent on one another. You will all be directed by one person, your regisseur.
“If there is orderliness and proper distribution of work, your collective effort will be pleasant and productive because it is based on mutual help. But if there is chaos and a wrong atmosphere for work then your collective enterprise can become a torture chamber, you will be getting in each other’s way, pushing each other around. It is clear therefore that you must all agree to establish and support discipline.”
p “How do we support it?”
“First of all, you arrive at the theatre on time, a half hour or a quarter of an hour before the rehearsal is called, in order to go over the elements which are necessary to establish your inner state.
“If even one person is late it upsets all the others. And if all are late your working hours will be frittered away in waiting instead
-f being applied to your job. That makes an actor wild and puts him in a condition where he is incapable of work. But if on the contrary you all have the right attitude towards your collective responsibilities and come to your rehearsal with proper preparation you will create a splendid atmosphere which will challenge and encourage you. Your work will go along hummingly because you are all helping each other.
“It is also important that you take the right attitude towards the object of each individual rehearsal.
“The great mass of actors have quite a wrong idea about their attitude toward rehearsals. They believe that they need work only at rehearsals and that they can be idle at home.
“Whereas this is not the case at all. The rehearsal merely clarifies the problems that an actor needs to work on at home. That is one reason why I place no confidence in actors who chatter a lot at rehearsals and do not make notes on planning their home-work.
“They pretend that they can remember everything without notes. Nonsense! Do they think that I do not know that they cannot possibly remember everything because, in the first place, the regisseur mentions so many details both major and minor that no memory could retain them, and, in the second place, they are dealing for the most part not with definite facts but with feelings stored up in emotion memory. To understand, to comprehend and recall them, the actor must find the appropriate word, expression, example, some means of description with the aid of which he will be able to evoke, to fix the sensation under discussion.
“He will have to think about it at home before he will be able to find it again and call it forth from his inner being. That is a tremendous piece of work. It requires great concentration in his work both at home and also at rehearsal when the actor first receives the comments of the regisseur.
“We, the regisseurs, know better than anyone else what credence to give to the assertions of inattentive actors. We are the ones who are obliged to repeat the same things to them over and over again.
“That kind of an attitude on the part of certain individuals toward a joint piece of work acts as a great brake. Seven will not wait for one. Remember that. Therefore work out for yourselves the right kind of artistic ethics and discipline. This will force you to prepare yourselves properly at home in advance of each rehearsal. Let it be a source of shame and badge of disloyalty to you before your whole group if you are the cause of making the regisseur repeat something he has already explained. You have no right to forget the regisseur’s remarks. You may not comprehend them all at once, you may have to return to them in order to study them more thoroughly, but you may not merely take them in one ear and send them out of the other. That is a crime against all the other workers in the theatre.
“Therefore, in order to avoid that misdemeanor, you must teach yourself how to work independently at home on your part. This is no easy task but it is something you must learn how to do thoroughly and well while you are in training here. Here I can take all the time which may be necessary to go into the details of that work but at rehearsals I cannot come back to these things without running the risk of their being turned into lessons. Out on the stage the demands made on you will be far stricter than in the class room. Bear this in mind and prepare yourselves for it.”
6
“How does a singer, a pianist, a dancer, start his day ?“ Tortsov asked at the beginning of today’s class.
“He gets up, bathes, dresses, has breakfast and at a time appointed for this purpose he begins his exercises. The singer vocalizes, the pianist plays his scales, the dancer hurries to the theatre, to his practice bar in order to keep his muscles in trim. This is done day after day, winter and summer. A day omitted is a day lost and a detriment to the art of the performer.
“Tolstoy, Chekhov and other great artists considered it a necessity to sit down every day at a given hour to write, if not on a novel or short story or play, at least in a diary, to record thoughts and observations. The main point was day by day to cultivate the most delicate and precise ways of rendering all the subtle intricacies of human thoughts and feelings, visual observations and emotional impressions.
“Ask any artist and he will tell you the same thing.
“Nor is that all: I know a surgeon (and surgery is also an art), who devotes all his free time to playing with the most delicate kind of oriental jackstraws. After tea, while conversing with others, he cleverly fishes out some item underneath a complicated pile of little sticks just to keep his hand in.
“And it is only the actor who, when he has gotten up in the morning, dressed and breakfasted, hurries out into the street or calls on friends or does other personal errands, because that is his free time.
“That may well be. But the singer, the concert pianist, the dancer do not have any more time. They have rehearsals, lessons, performances too.
“Nevertheless it is always the excuse of the actor, who neglects his home-work on the technique of his art, that he has ‘no time.’
“What a pity! As I have said before, an actor, more than any other special artist, is in need of that work at home. Whereas a singer has to be concerned only with his voice and breathing, a dancer with his physical apparatus, and a pianist with his hands r an instrumentalist with his breathing and lip technique—an actor is responsible for his arms, his legs, his eyes, his face, the plasticity of his whole body, his rhythm, his motion and all the program of our activities here in the school. These exercises do not stop with graduation, they go on through your whole lives as artists. And the older you get the more necessary it will be for you to point up your technique and consequently to maintain a system of regular work-outs.
“But since the actor has ‘no time’ for such practice his art at best will mark time or at worst run down hill because it consists of only an accidental technique drawn by necessity from unthinking, false, untrue, mechanical rehearsing or badly prepared public appearances.
“And yet an actor, especially the ones who complain most about lack of time, those who play roles of second or third in importance, actually have more freedom than anyone else active in various artistic professions.
“Just look at the schedule. Take an actor who plays in the mob scenes in, let us say, Tsar Fyodor. He must be ready by 7:30 p.m. He appears in the second scene (the reconciliation of Boris with Shuiski). Then there is an intermission. Do not think that the actor needs to use all of it to change his make-up and costume.
No, indeed! Most of the actors keep the same make-up and change only their outer garments. Let us assume that ten out of the fifteen minutes normally assigned to an intermission is used up.
“Following that is the short scene in the garden, a two minute wait and then the long scene in the Tsar’s chamber. It plays not less than half an hour, therefore if you add that to the intermission you have approximately thirty-five plus ten—forty-five minutes.
“Then come the other scenes which you can calculate for yourselves and arrive at a general sum total.
“That is how the matter stands for our colleagues who play in the mob scenes. There are also a number of actors who play bits or even larger parts which are episodic in character. After his episode is finished the actor is either free for the rest of the evening or he waits for another five minute appearance in the last act and the whole time is loafing around the dressing room and being bored.
“That is the way actors divide their time when engaged in one of the more complicated and large productions, like Tsar Fyodor.
“And now what about the large number of others who are not playing on this particular evening? They are free and they spend their time appearing in pot boiler performances. Let us make a note of that.
“So much for the evening occupations. What happens during the daytime at rehearsals? In some theatres, take ours for instance, rehearsals are called for eleven or twelve o’clock. Until then our actors are free. And that is only right for various reasons that are connected with the peculiarities of our lives. An actor’s performance finishes late, he is wrought up and it takes some time for him to calm down sufficiently to go to sleep. At an hour when most people are sound asleep our actor is playing the last and most difficult act of a tragedy. When he comes home he takes advantage of the quiet to concentrate, without being interrupted, on the new part he is preparing.
“So what is surprising about the fact that on the following morning when everyone else is already up and at work our tired actor is sound asleep after his long hours of wear and tear on his nerves?
“He has probably been on a spree—is what many say about us.
“And there are theatres, which pride themselves on keeping their actors on their toes with their iron discipline and model order—so-called. They have rehearsals at 9 a.m. (incidentally after finishing a Shakespearean tragedy at ii p.m. the previous evening).
“Such theatres, which boast of their organization, do not take their actors into consideration and in a way they are quite right. Actors in those theatres can die three times a day with utmost comfort and they can rehearse three different plays every morning.
“‘Tra-la-la. . . . boom, boom. . . .‘ the leading actress trills in a low voice to her partner in a scene, and adds: ‘I cross to the sofa and sit down!’
“To which the leading man replies in half tones: ‘Tra-la-la. .
boom, boom. . . .‘ etc., and then: ‘I cross to sofa, drop on one knee and kiss your hand!’
“It often happens when we are on our way to a rehearsal at noon that we meet an actor from one of those other theatres who is strolling around after a whole morning of rehearsals.
“‘Where are you off to?’ he asks. ‘To rehearsal.’ ‘What? At noon! At such a late hour!’ he exclaims not without irony and venom and obviously thinking to himself: ‘What a sleepyhead and shiftless creature!’, and then he says aloud: ‘What a way to run a theatre! Why, I have already finished my rehearsal. We ran through a whole play! We begin work at nine a.m.!’ This last is said with a touch of boastfulness by the mechanic-artist who measures with condescending eye our belated actor.
“But I have said enough. I already know in that instance what so-called ‘art’ is in question in those theatres.
“And now here is my problem: there are many managers in good theatres who are seriously trying to achieve a degree of genuine artistry who really believe that the so-called iron discipline and order of the mechanical actors is right and even ideal. How can such people, who judge the product and conditions of work of a real artist according to standards established by book-keepers, cashiers, and accountants, be put in charge of the direction of artistic accomplishment or even understand how it is to be carried on, how much nervous energy, life, and the highest spiritual outbursts are laid on the altar of their beloved art by true actors who ‘sleep until noon and are the cause of endless disorder in the schedules set up by the repertory office!’
“How can we get away from such managers with petty tradesman or bank clerk mentalities? Where are we to find people who understand and, above all, who sense what the main object of true artists is and how to deal with them?
“Meanwhile I am putting more and more pressure on these already over-burdened real artists, regardless of whether they are playing long or short parts: I am asking that they take their last remaining free time—the intermissions and the waits between their entrances and the hours between rehearsals—to work on their technique.
“For such work, as I proved to you by figures, there is plenty of time.”
“But you want to exhaust the poor actor, and take away his last breathing spell !“
“No, indeed, I assert. The most exhausting thing for an actor is to loaf around his dressing room waiting for his next entrance.”
7
“There are many actors and actresses who do not take creative initiative. They do not prepare their roles outside the theatre by letting their imaginations and subconscious play on the character they are to portray. They come to the rehearsal and wait around until they are led along a path of action. After a great effort the regisseur can sometimes succeed in striking sparks in such passive natures. Or these lazy persons may catch fire from watching others take hold, they may follow their lead and become infected with their feelings about the play. After a series of such vicarious sensations, if they have any gift at all, they may be able to arouse their own feelings and acquire a real grasp on their parts in their own right. Only we regisseurs know how much work, inventiveness, patience, nervous strength and time it takes to push such actors of weak creative impulse ahead, away from their dead center. Women, in such cases, are apt to excuse themselves charmingly and coquettishly by saying: How can I help it? I cannot act until I feel my part. As soon as the impulse comes everything will turn out all right. They say this with a touch of pride and boasting as though that procedure were a sure sign of inspiration and genius.
“Need I explain that all such drones, who profit by the work and creativeness of others, are an infinite drag on the accomplishment of the whole group? It is because of them that productions are often delayed for weeks before they can be released. They not only are slow in their own work but the cause of delay in that of others. Indeed the actors playing opposite them have to exert themselves to the utmost in order to overcome their inertia. This in turn produces overacting, ruins their parts especially if they are not any too secure in them anyway. When they do not get the right cues the conscientious actors make violent efforts to stir the initiative of the sluggish actors, thereby impairing the true quality of their own playing. They get themselves into an impossible state and instead of facilitating the performance they clog it up by making it necessary for the regisseur to deflect his attention away from the general to their particular needs. Consequently we see not only the one passive actress contributing exaggerated, false acting to the rehearsal instead of lifelike, true emotions, but also the men who are playing opposite her as well. It takes no more than two actors straying down the wrong path to deflect a third or even a fourth. In the end one actor can derail a whole performance that was running smoothly and send it tumbling down hill. Poor régisseur! Poor actors!
“You may say that it would have been better to dismiss those actors with undeveloped creative initiative and corresponding technique, but it is unfortunately true that among them there are a great many with talent. Less gifted actors would not dare to be so passive, whereas the more gifted ones, feeling unimpeded, allow themselves more leeway; they sincerely believe that they are in duty bound and indeed have the right to wait for the favorable wind, the rising tide of inspiration.
“From all of which it should be clear to you that no actor has a right to take advantage of the work of others during a rehearsal. He must provide his own living emotions with which to bring his own part to life. If every actor in a production would do that he would be helping not only himself but the work of the whole cast. If on the contrary each actor is going to depend on the others there will be a complete lack of initiative. The regisseur cannot do the work of everyone. An actor is not a puppet.
“So you see every actor is obliged to develop his own creative will and technique. He, along with all the others, is bound to do his own productive share of work at home and at rehearsal, always playing his part in the fullest tones of which he is capable.”
8
“The problem for our art and consequently for our theatre is— to create an inner life for a play and its characters, to express in physical and dramatic terms the fundamental core, the idea which impelled the writer, the poet, to produce his composition.
“Every worker in the theatre from the doorman, the ticket taker, the hat-check girl, the usher, all the people the public comes into contact with as they enter the theatre on up to the managers, the staff, and finally the actors themselves—they all are co-creators with the playwright, the composer, for the sake of whose play the audience assembles. They all serve, they all are subject to the fundamental aim of our art. They all, without exception, are participants in the production. Anyone who in any degree obstructs our common effort to carry out our basic aim should be declared an undesirable member of our community. If any of the staff out front greets any member of the audience inhospitably thereby ruining his good humor, he has struck a blow against our general objective and the goal of our art. If it is cold, dirty, untidy in the theatre, if the curtain is late in rising, if the performance drags— then the mood of the public is depressed, they arc not receptive to the main thoughts and feelings offered to them through the joint efforts of the playwright, the regisseur, the company and the actors. They feel they had no cause to come to the play, the performance is spoiled, and the theatre loses its social, artistic and educational significance.
“The playwright, the composer, the cast, all do their share to create the necessary atmosphere on their side of the footlights, and the administrative staff does its part in creating an appropriate mood in the audience and backstage where the actors are getting ready for a performance. The spectator as well as the actor is an active participant in a performance and therefore he too needs to be prepared for his part, he must be put in the proper mood in order to be receptive to the impressions and thoughts the playwright wishes to impart to him.
“This absolute dependence of all the workers in the theatre on the ultimate aim of our art remains in force not only during performances but also during rehearsals and even at other hours of the day and night. If for any reason a rehearsal is unproductive those who obstructed the work were undermining our general purpose. Artists can operate successfully only under certain necessary conditions. Anyone who upsets those conditions is being disloyal to his art and to the society of which he is a part. A bad rehearsal does harm to a part and a distorted part prevents an actor from conveying the thoughts of the playwright, in other words from accomplishing his main job.”
Is anyone familiar with Konstantin Stanislavski???
Are you asking us to pick this apart and take out the important information for you?
Look if you are serious about acting then only you can do the work. Read through it yourself and highlight the parts that stand out. If you don't do the research and the work yourself it is pointless and that means you are lazy and directors don't like lazy actors.
Reply:You're kidding right?
Tony
http://www.actingcareerstartup.com/teen_...
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