The Poetry of John Keats – A Celebration of Beauty, Classicism and Romantic Richness

Being an ardent lover of poetry, to be more specific, romantic poetry, I have always been fascinated with the sense of oneness I feel with the poets’ world. Romantic poetry, for some of its major attributes like pictorial quality, imagery, mysticism, absorption in the beauty and life of nature, classical features and above all, celebration of beauty and aestheticism—has a huge amount of appeal to the highly refined and sophisticated readers of all times. And surprisingly, it is this pictorial quality, sensuous delight in nature, sheer artistic beauty and richness of imagery unfolded by romantic poets that continue to inspire us in some way even after so many years!

When we come to think of the Romantic poets, the name John Keats, the finest flower of the Romantic Movement-comes foremost on our minds. Deeply revered as one of the greatest word-painters in English poetry, his verses present subtle imagery and a fusion of different sensations that has time and again, produced musical effects, and in that, he was rather a conscious artist.

The age of Keats and the literary influence on Keats:

The Romantic era, as history says, was the time when almost the whole of Europe was intensely shaken by the ideas and ideologies of the French Revolution. Major poets of that period were greatly inspired by the personal and political liberty of the revolution, breaking the bonds of the artistic conventions of the 18th century. Those were the times when these ideas and ideals “awaked the youthful passion of Wordsworth, of Coleridge”, “stirred the wrath of Scott” and “worked like yeast on Byron”… However, Keats was distinguished from his contemporary poets and literary figures in the fact that the excitement and the turmoil that gathered round the revolution was not directly represented in his poetry. Thus saying, it is worth mentioning that some portions of ‘Hyperion’, ‘Fall of Hyperion’, and ‘Endymion’ do bear testimony to that fact that Keats was influenced by the political turmoil – but it’s definitely not as pronounced as the works of Wordsworth, Coleridge, or Shelley. His poetry, on the other hand, was an embodiment of his vision of beauty that he sees everywhere in nature, in art, in human deeds of chivalry and in the fascinating tales of ancient Greece. This in fact, was the profoundest and the most innermost experience of Keats’ soul, which he expresses most emphatically in his ‘Ode on a Grecian Urn’:

“Beauty is Truth, Truth Beauty’, that is all/ Ye know on earth, and all ye need to know.”

Tracing his poetic growth, researchers have found out that he was educated almost exclusively by the English poets. While in the early part of his career, the influence of Edmund Spenser, specially his ‘Faerie Queene’, was instrumental in awakening his imaginative genius; the brooding love of sensuous beauty, the luxuriance of fancy and the response to the charm of nature characteristic of Spenser’s poems were to be re-echoed in Keats’ poems. In the later years, critics have cited the influence of Shakespeare, Milton, and even Wordsworth in his poems. While the influx of Shakespearean words, allusions find expression in the 1817 volume of his ‘Endymion’, he was also greatly influenced by the distinctive spirit and vocabulary of the old English poets, especially those of the Renaissance. Thus saying, it is worth mentioning that the influence of Milton’s ‘Paradise Lost’ is highly visible in his ‘Hyperion’. At the same breath, the classical influence on his poetry has also been a subject of intense research by scholars.

Critics today say that what makes the poetry of Keats the most distinguished among all romantic poets is the fact that his poetic genius blossomed under the romantic breeze, and matured under the sunshine of classicism. The genuine classicism of ancient Greece, which shows the characteristic classical restraint, is very much present in his poems. What more, it is harmoniously blended with the romantic ardor of his poetry, which results in a wonderful fusion of romantic impulse and classical severity. This statement holds much truth when we take into account his more mature Odes, where we notice Keats’ sense of form, purity and orderliness. His Odes have all the spontaneity and freedom of imagination that characterize the poetry of the Romantic era. For example, when in his ‘Ode to a Nightingale’, the poet describes the bird’s song as the voice of eternity and expresses intense longing to die in the hope of merging with eternity, there is this romantic suggestiveness of sensual delight of the poet in these lines:

“The same that oft-times hath/Charmed magic casements, opening on the foam/Of perilous seas, in faery lands forlorn”.

However, at once, the poet restrains himself with the lines:

“Forlorn! The very word is like a bell/To toll me back from thee to my sole self”…which is …

The Nigerian Movie Industry (Nollywood) – The Origin (History)

Here is an abridged version (yet richly enlightening) from one of the articles i wrote concerning this subject matter.

Film exhibition began to thrive during the Colonial era, with Glover Memorial Hall playing host to a range of memorable films viewed by “potential Nigerians”, in August 1903. However, the non-availability of proper records reflecting the title of the debut film exhibited has created a lapse in the precedent stock. Notwithstanding the lacuna, the way had been paved for the exhibition of more foreign films at the Hall and other designated venues.

The emotionally traumatizing “Master – Servant” relationship, evident in the constant assaults, batteries, intimidation, segregation, victimization, carried out by the Colonial masters on the colonized, with darkened clouds of resentment, vengeance, thirst for freedom, giving way to splattering drops of such thoughts, instinctively projected through the colonized intermittent in-subordinate actions, began to spread amongst the blacks. The British knew they had to thread with caution if they still wanted to play “god” in their lives when films such as Tales of Manhattan, Trailer horn, Tarzan series began to stir up a revolution in the hearts of Blacks across the globe.

Aware of the lethal power of insurgency which could be unleashed through the Film medium, the British out of fear for their lives and possible loss of the Queen’s sovereignty took the bull by the horn, and swiftly created a Colonial Film Censors Board (FCB) in 1933 to censor and classify films before they were released for visual consumption by the public. Following the establishment of the board, Films such as “The primitive, primitive man, Dixie, Buffalo Bill, The Keys of the Kingdom, Sleepy Town Girl were tagged ‘suitable’ to be watched, while Dr Jekyll and Mr Hyde, Clive of India, The Isle of Forgotten Sins, House of Frankenstein were considered unsuitable for viewing.

The Censor’s body underwent a transformation process into the Federal Board of Film Censors (FBFC) from the aforementioned, and the laws from which the transformed body derived its powers ranged from the 1948 Cinematograph Laws of Nigeria, the Cinematograph Laws of 1963, to the 1963/64 Cinematograph Law and Regulations. The present National Film and Video Censors Board came into existence by virtue of decree, now Act 85 of 1993. The advent of Nigeria’s Independence (1960) and the Republican status (1963), heralded the dawn of a new era in all sectors.

“The Yoruba Travelling Theatre Group” of the 60’s and 70’s can be referred to as the “Fountain Head” of movie productions in Nigeria. The veterans with great Theatrical skills and great performances took their works beyond the stage, and dove into the sea of film productions using the Celluloid format. Notable film makers on the Roll call of Honour during the Celluloid boom era of the 70’s include Ola Balogun, Eddie Ugbomah, late Herbert Ogunde, Adeyemi Afolayan a.k.a Ade Love (father of Kunle Afolayan of the Irapada fame), Ladi Ladebo, Moses Adejumo, Adebayo Salami and Afolabi Adesanya.

The list of documented films produced during the 70’s era and transcending somewhat into the 80’s is simply astonishing and goes to show that the Movie Industry has been around much longer, contrary to the ‘1992 belief syndrome’ most have been injected with. Such works include Kongi Harvest (1971), Alpha (1972), Bull Frog in the Sun (1974), Amadi (1975), Ajani Ogun (1975), Muzik Man (1976), Bisi, Daughter of the River (1977), Ija Ominira (1978), Aiye (1979), Kadara (1980), Jaiyesimi (1980) Efunsetan Aniwura (1981), Cry Freedom (1981),Ija Orogun (1982) Owo L’Agba (1982)

The cost of producing films in that era was financially back breaking, with Nigerians further frustrating the efforts of the filmmakers by opting to watch films of occidental and oriental origin at the Cinemas and Exhibition centres, rather than the locally produced ones. The Cowboy films were exhilarating to watch while the Chinese films paraded amongst others, the Legendary “Bruce Lee” in (Lo Wei’s, The Big Boss (1971), Fist of Fury (1972), Way of the Dragon (1972), Enter the Dragon (1973), The Game of Death released in 1978) who exhibited Martial Arts dexterity, obviously a fighting technique alien, yet fascinating to us at that time.

Indian films in the late 60’s and well into the 70’s paraded renowned names like Rajesh Khanna, Dharmendra Singh Deol, Mumtaz, Amitabh Bachchan, Anil kapoor, Hema Malini, and produced hits such as “Bobby”, “Sholay”, “Kabhi Kabhi”, “Dharamveer”, “Amar Akbar Anthony”. Their stars displayed great acting skills against the backdrop of love themes, and ear pleasing songs coupled with synchronized dance steps, produced with sound and special effects, though incomparable with what obtains today bought over the indigenes loyalty for their movies.

Thus, the Movie Founding Fathers began to face the challenges of recouping their investments, which gradually became virtually an impossible task, an anthem they constantly rendered much to the discomfort of …

The Making of a Patachitra Painting

We have all seen contemporary artists in action. We have seen them splash paint on giant canvases. But there is another way to make great art. And that is through the rigor of practice and the perfect control over one’s fingers. In the world of traditional artists – practice marks out the best from the rest. Through eyes that can barely see, and through the strength of their frail fingers – the older generation of indigenous artists, create art that simply tantalizes the perfectionists.

Patachitra art has been around for a long time. However the alienation of indigenous art forms has made it difficult for the enthusiast to find out the techniques and methods which produce a great Patachitra. Conversely some of the traditional techniques require upgrading to the latest available materials and tools. With the intention to understand how authentic Patachitra is made, I traveled to Raghurajpur in Orissa to get a first hand view of some of the best Patachitra artists.

So how is good Patachitra made? There a number of steps in the traditional style. The first is of course the preparation of the materials required for the painting. Tamarind seeds are soaked in water in an earthen pot and then boiled to get a gummy solution. Rice powder may be added to give a stiffer feel to the canvas. This process knows as ‘Niryas Kalpa’ takes a few days.

After this, two course cotton cloth pieces of the same dimensions are selected and pasted together using this solution. This forms the ‘Pata’ or the base canvas for the painting. Chalk, clay or stone powder is then mixed with the tamarind solution and applied on both sides of the canvas to give it a semi-absorbent surface coat. After canvas has dried it is burnished first with coarse grain, and then with polished stones to give it a smooth surface. The process of polishing involves many hours of careful work. The result is a canvas with high tensile strength and an excellent surface coat for the intricate lines that are to be made on it.

‘Chitrakarita’ or the process of painting begins once the canvas has been polished. The first step called ‘pahili ranga bhara’, involves painting a red background and the borders and outlines of the composition. The central solid colors are then painted in. The main colors used are red, brick red, yellow, white and lamp black. Many different types of brushes are used to make the different details on the painting. For fine lines, brushes made of the hair of a rat or mongoose is used. For thicker lines buffalo hair is the traditional choice. Kiya plants have been used to make the bolder lines, in the past. However in the last few years some of the artists have started using standard painting brushes made of synthetic materials.

The painting is finished with a coat of lacquer, applied using a soft cloth. After the lacquer has dried completely, the edges are clipped down to the decorative border. The lacquer layer is called ‘jausala’, and is glazed in the final step. In earlier times the lacquer layer was made by sprinkling resin powder on the painting and then holding it down with a hot bag of sand. Synthetic varnish has been used as a substitute in recent times with mixed results. A fallout of the varnish is the brown tinge to the painting.

In the past the themes of the Patachitra paintings belonged to a few major categories

  • Pictures of the god Jagannath
  • Hindu epics and episodes especially “Krishna Leela”
  • Stories from Folklore
  • Worship of various gods and goddesses
  • Animal and bird themes
  • Erotic themes

In recent times modern themes have started appearing on these paintings, even including themes from other religions. However the newer themes are mostly secular and center around modern day events and stories. The depictions however are not uniform and the structure of the paintings can vary from circular paintings to long rectangular panels.

The Patachitra artist also paints on a variety of mediums other than the ‘Pata’. ‘Talapatachitra’ is a variation of the style done on dried palm leaves stitched together to make a canvas. The design in this technique are primarily made with a needle head and etched on to the surface of the dried leaves. This is an extremely difficult and time-consuming process requiring many hours concentration at a time. The older artists develop eye problems mainly due to the extremely detailed designs they make using this technique.

Other mediums that have been used are wooden boxes, tassar silk apparel, coconut shells, wooden doors and panels and even traditional playing cards called ‘Ganjifa’. Compendiums of mythological stories called ‘Chitra-pothies’ are made from many palm leaf paintings stacked together between decorated wooden covers and held by strings or silk threads. …

Are There Any Grocery Store Foods Comparable to Medifast?

I sometimes have people ask me if there is any way that someone can replicate the medifast diet on their own. I find that many people who ask this question feel that they can save some money by doing this. In my experience, not only is this not the case, but finding healthy foods that are low enough in calories, carbs, and sugars while still high in protein is a very tall order. And, in my opinion, this is going to be needed in order to have the results that you would get on medifast. You’ll need to be able to get in ketosis in the same way that you would on the diet and this combination can be quite difficult (and expensive) to find in the grocery or health food store. To demonstrate this point, in the following article, I’ll show you some comparisons between medifast foods and popular grocery store items.

Finding Something Comparable To Medifast Oatmeal: Probably the breakfast item that I enjoy the most on this diet is the oatmeal. I know that some people ask me if you can find something similar at the market, but, if there is an alternative, I haven’t found it. The diet oatmeal has only 100 calories, 15 grams of carbs, one gram of sugar, and 11 grams of protein. In contrast, Quaker brand has (depending on the flavor) 120 calories, 27 carbohydrates and a high 12 grams of sugar. There is only 3 grams of protein. If you look, you’ll likely see that it’s very difficult to find a similar oatmeal with the same ratios.

Is There Anything Similar To The Medifast Brownie?: If there is, I haven’t found it either. The diet brownie can be served warm and is pretty decadent tasting, yet it only had 110 calories, 15 grams of carbs, 8 of sugar, and 11 of protein. Granted, this product is a bit higher in sugar, but this is factored into the diet and I can’t imagine finding another brownie product that is this high in protein while being lower in sugar. I’m very impressed that you’re able to eat a brownie while on this diet. Not only that, but there’s no restriction on this meal. You can enjoy it quite often if you like it.

Are There Any Compatible Medifast Shakes?: This is the question that I’m most often asked. And I’ve looked at several, which have come up short of my criteria. The 55 shakes that are in the women’s basic package have only 90 calories, 15 carbs, 8 sugars, and 11 proteins. Compare this with special K shakes which have not only 180 calories, but also about ten grams more of sugar, and about 16 more of carbs. Some of the slim fast shakes contain a whopping excess of 200 calories, 20 grams of fat, and 40 grams of carbs.

Grocery Store Bars As Opposed To The Medifast Bars: This diet does have a maintenance bar that is limited to only one per day because the calories, carbs, and sugars are a bit higher. But the crunch bars, which are also quite good, are not limited in this way. Like the other foods, they barely break the 100 calorie mark and only have 12 carbs, two sugars, and 11 grams of protein. Compare that with a bar like Kashi’s or special K which has between 11 – 13 grams of sugar.

People will often ask me things like “does 10 additional grams of sugar or carbohydrates really make that much of a difference?” In terms of ketosis, it really can. Every gram counts here and it’s very important to get the right ratio of these things with a high enough amount of protein if you’re trying to get into fat burning mode. And, as you can have these differences in each of the six meals, over the course of the day, you really can see a very big difference in what you are taking in.

Do You Really Save Any Money At The Grocery Store?: As I said, many people are looking for an alternative because they are trying to save money. In my experience, most anything that is remotely comparable is going to be a very specialized product that is going to be much more expensive than typical groceries. Since with coupon codes you can often get the cost of medifast meals down to just a little over $2, you might not save as much as you think, if anything at all depending on where you live. Not only that, you might still be walking away with more calories, carbohydrates, and sugars (and less proteins) than you would if you went with the diet.



Source by Lindsey Price

How to Find the Cheapest Scrap Platinum

The oldest record of platinum use is as an inlay in ancient Egypt. However, the Egyptians though it was a variation of electrum, (a natural blend of gold and silver.) Native Americans used it for centuries in small decorative objects. Platinum was unknown to Europeans until Spanish discovered it in Columbia. The Spanish called it platina, meaning little silver. It was not identified as a new metal until the 1700’s. The metal was introduced into Europe from South America in the middle of the eighteenth century. It is always found in association with other metals, chiefly Rhodium, Osmium, Iridium, Palladium.

Platinum is one of the rarest and purest precious metals in the world. The perfect jewelry material for these fortuitous times, Platinum is regarded by many as a “new” metal. Platinum has been held in high regard as a symbol of wealth and nobility, the true worth of Platinum was underappreciated until the eighteenth century, when the Europeans began to recognize Platinum’s beauty. As a matter of fact, France’s Louis XVI proclaimed it the only metal fit for royalty. Legendary jewelers such as Cartier, Faberge and Tiffany created their timeless designs in platinum. The world’s famous diamonds, including the Hope and Koh-l-Noor, are secured permanently in platinum.

Platinum reached its peak of popularity in the early 1900s, when it was the preferred metal for all fine jewelry in America. It dominated the world of jewelry design during the Edwardian era, the Art Deco period and well into the 1930s. At the onset of World War II, however, the U.S. government declared platinum a ‘strategic’ metal and its use in non-military applications, including jewelry, was banned.

Very few countries have platinum supplies, with South Africa (80%) and Russia (11%) accounting for approximately 90% of the world’s supply. The yearly production from these mines is only 150 tons, which is 1/25 of the yearly production of gold. Moreover, the amount of platinum that can be produced from raw ore is relatively small. To make a single small ring of approximately 3 grams requires approximately 1 ton of raw ore.

Today, platinum is much more valuable than gold. Although it is used in many industrial applications, including the automotive industry, platinum jewelry consistently commands higher prices than even pure gold because of its rarity.

Two of the best ways to find the cheapest scrap platinum is through catalytic converters and scrap platinum jewelry. Due to the prices of platinum being so high as of late, a lot of people are becoming victims of thieves who steal their catalytic converters. It used to be you had to worry about your rims, stereos and gps systems, well not anymore.

A catalytic converter is used to reduce the toxicity of emissions from an internal combustion engine. They were first introduced on cars in the US market for the 1975 model year to comply with tightening EPA regulations on auto exhaust. Each catalytic converter contains between three and seven grams of platinum. Not a bad catch if you can find one legally. Catalytic converters are also used on generator sets, forklifts, mining equipment, trucks, buses, trains, and other engine-equipped machines.

From the scrap yards, the converters make their way into the metal-recycling industry, where the platinum and other precious elements, including palladium and rhodium, are removed and used to build high-tech machinery, including more catalytic converters.

Although it is being brought to the forefront thanks to thieves stealing the catalytic converters, platinum still seams to be the big unknown in scrap metal. Some great places to find old catalytic converters for scarp are the local junk yards, online classifieds, such as Craiglist, US Freeads and Kiji. Another great place, as usual is Ebay. Some people even find them at flee markets and garage sales. The trick is once you get them, finding refiners that will pay decent scrap metal prices for the platinum. It will be less than what the price of platinum is due to the fact that they have to extract it, that price is passed on to you.

Now there is a second way to find the cheapest scrap platinum and that is through jewelry. Again the best places to find great deals on platinum jewelry is through the flee market and garage sales, followed by Craigslist, Us Freeads, Kiji and Ebay. Or if you are really resourceful you can invest in a metal detector and hope for the best.

What is so great about scrap platinum jewelry? Well, the number of knowledgeable buyers and sellers are low. Most people don’t understand that platinum jewelry is 90% platinum and that the other 10% is made up of a platinum group metal. If you call around to your local pawnshops, scrap metal dealers, junk yards, coins shops, and jewelers, you’ll find that most of them …

Top 10 Action-Comedy Movies (Duo)

Lethal Weapon

I love Mel Gibson and Danny Glover in all of the four movie series, which were all blockbusters. Gibson’s funny way of being a mad cop complemented Glover’s fears of getting old and retirement. I think it’s the addition of Jet Lee in the final sequel that made it the best among them.

Rush Hour

This three-movie mega hit series of action superstar Jacky Chan with Chris Tucker is all funny from start to finish. Chan’s comical side in making stunts was equally paired by Tucker, without “hurting” each other. With their misadventures as police detectives, I think both actors were perfectly fit for their roles.

Shanghai Knights

This 2003 action-comedy film sequel to “Shanghai Noon” proved again that Jacky Chan is fine with a partner. Owen Wilson was at his best in his funny acts in the 19th century set-up. The romance between Wilson and Fann Wong, who played the role of Chan’s sister, is cute and entertaining.

Bad Boys II

This Michael Bay’s action-packed comedy film has placed Martin Lawrence and Will Smith into the next level. It was released in 2003 as a sequel to the 1995 movie Bad Boys. It received negative reviews for its violent sense of humor, but I think Lawrence has successfully portrayed his funny moments.

Men in Black II

Released in 2002, this second sequel of the three-movie series MIB starring Tommy Lee Jones and Will Smith can be categorized as a comedy film. While some alien creatures and dialogues may not be suited for young kids, there are a lot of funny scenes. The special visual effects are good enough.

21 Jumpstreet

Based on the 1987 television series of the same name, this 2012 Hollywood comedy movie revealed the comic side of hunk Channing Tatum. His tandem with Jonah Hill as two unlikely weird cops resulted to a perfect combination. Its upcoming sequel “22 Jump Street” is likely to be hit too.

The Other Guys

Both Will Ferrell and Mark Wahlberg did well in sharing hilarious moments in this 2010 action-comedy film. No wonder, the movie won the “Best Comedy Film” award at the first annual Comedy Awards that year. I believed Director Adam McKay has successfully applied his skills in his earlier comedy films.

Another 48 Hrs

This 1990 action-comedy film starring Eddie Murphy and Nick Nolte is a sequel to the 1982 film 48 Hrs. It was more successful than the first one in terms of box-office, and funnier. Murphy, who was then successful for his “Beverly Hills Cop,” once more proved that his funny face really works.

Knight and Day

This 2010 action film starring Tom Cruise and Cameron Diaz is funny more being than a romance movie. For me, Diaz is charming and funny with her innocence of the mission of Cruise. If you love Cameron in Charles Angels, then you will also love her humorous role in this movie.

Starsky & Hutch

Ben Stiller and Owen Wilson played as David Starsky and Ken “Hutch” Hutchinson, respectively. This is the 2004 American film adaptation of the 70s TV series with the same title. Born comedians, I think both actors have justified their talents in mixing action with comedy as the iconic street smart undercover cops.



Source by Char Reyes

Calculating Car Workshop Labour Efficiency

The clock is ticking

‘Time is money’ in bodyshops and service workshops. Essentially, these operations buy and sell the time of panel beaters, painters and technicians. A service workshop, for example, might buy one hour from a technician for £10 and sell it to a customer for £40, and make a profit of £30. (These figures are, of course, notional).

Buying and selling the time of productives is, or should be, the major source of revenue and profit in bodyshops and service workshops. Profits from the sale of spare parts; oils and lubricants; paint and materials; and sublet and sundry are all subsidiary to the buying and selling of productives’ time. If you don’t sell time, you don’t sell any of these other things.

Just as you would take great care when buying and selling a spare part, you have to pay equal attention to buying and selling productives’ time – or even more so, because you cannot ‘stock’ productives’ time. In other words, if you don’t sell their time today, you cannot sell it tomorrow.

Time for sale

So once time is gone it’s gone, whereas a spare part will still be in stock. So it is a good idea to know how much time you have for sale. This would seem pretty simple. If you have six productives, and they are there eight hours every day, surely you have 48 hours for sale? Well, no, you don’t.

For a start, productives might be in the workshop for eight hours every day, but they don’t work on paying jobs for eight solid hours. For example, a customer could come back with a car that you serviced yesterday and complain that it keeps stalling. It will then be necessary for a productive to rectify the problem, and of course you cannot charge the customer for that. If it takes two hours, then you only have 46 hours left to sell, in our example.

Time sold

To complicate things further, you can actually end up selling more than 48 hours. Imagine, for instance, that a vehicle manufacturer’s standard time for a major service is two hours and you quote the customer on this basis. If your technician completes the service in one hour (unlikely, we know) then you will still charge the customer for two hours.

If this happened all day long, you could sell 96 hours less the four hours you could have sold if one of your technicians hadn’t spent two hours spent rectifying the engine stalling problem. (It’s four hours because you are selling two hours for every hour worked in this example.) So if your productives could halve the standard times all day, that’s 92 hours sold rather than 48 hours.

Three measures of time

What we are talking about here is the three kinds of time available in a bodyshop or service workshop:

Attended time – this is the time that panel beaters, painters or technicians are in the workplace available to work.

Work time – this is the time they spend actually working on jobs that, at the end of the day, a customer pays for. Clearly ‘work time’ does not include any time spent rectifying problems, or anything else they do that does not have a paying customer at the end.

Sold time – this is the time that you charge customers for. It could be the time quoted on an estimate for an insurance company, or a menu-priced service.

You could say that ‘attended time’ and ‘work time’ are both ‘real’, because you can almost see them. You can see when a productive is in the workshop, and you can see a productive working on paying jobs. What’s more, you can measure ‘attended time’ and ‘work time’ using a clock.

On the other hand, ‘sold time’ is not ‘real’. You can’t see it, and you can’t measure it using a clock. But at the end of every day you can add up all the time you have sold to customers from your job cards or invoices.

How fast and how long

If you measure attended time and work time, and add up sold time at the end of the day, you can then see how fast and how long your productives have worked during the day.

How fast they have worked is sold hours divided by work hours. In our example, that’s 92 hours sold compared to 46 hours worked, or 200% expressed as a percentage. That is, your productives are working twice as fast as the standard time.

How long they have worked is work hours divided by attended hours. In our example that’s 46 hours compared to 48 hours, or 95.8% expressed as a percentage. That is, your productives were working on paying jobs for 95.8% of the time.

Labour efficiency

Softball Uniforms

It is a fact that softball uniforms and equipment play a vital role in boosting a team’s inspiration. Earlier, heavy sweaters were standard in this sport, and occasionally, color schemes were bizarre patterns of checks or shapes. Then sweaters became passé and short windbreaker-style jackets came into vogue. They further evolved into leathers and suedes, all for supporting a team. Today, a nylon type windbreaker is a trendy option that is used to boost team spirit.

All softball teams wear distinctive uniforms. Usually, a uniform includes a cap, a shirt, an undershirt, and pants. Standards are laid down for these items.

For a team, caps must be identical, and are mandatory for male team members. Caps, visors, and headbands are non-obligatory for female players, and must be of the same color if more than one is put on. For a fielder choosing to wear a helmet or a cap is optional. At the back of a shirt, a number from 1 to 99 must be observable, and numbers like 02 and 2 are deemed identical. A player’s name should not necessarily be present on a uniform. Players cannot wear jewelry during a game, but some types of bracelets and necklaces are allowed. It is mandatory for all players to wear shoes, and shoes may have spikes, but these must not extend more than 1.9 centimeters away from sole. Wearing rounded metal spikes is prohibited, as these are made from hard plastic or other synthetic materials. Removable metal cleats are not allowed at any level of play, in order to reduce the possibility of severe injuries when a runner slides feet-first into a fielder. At all youth levels, that is under 15, in co-ed or mixed teams, use of metal spikes is forbidden in slow and modified pitches.

Every softball game has two teams, and if teams are wearing different uniforms, it becomes easier for players to distinguish among their teammates and opponents. Players in uniform get a sense of unity among themselves.



Source by Kevin Stith

A Wife’s Liability

A Wife’s Liability

Pastor Chris state 1 Peter 3: 1-2 says: “Likewise, you wives, submit yourselves to your husband, that if any of them are disobedient to the Word, they also without words are won by the behavior of his wife, if they see, how pure and the godly life of their wives.”

Wife

Your jewelry should not be outwardly, with a hairpin, wearing gold jewelry or wearing beautiful clothes, but your jewelery is an inner man concealed with pervasive jewelry that comes from a gentle and tranquil spirit, which is invaluable in God’s eyes.

Wise Woman

A wise woman will always be an influence on her husband; the foolish one will always annoy the husband, make him mad, make him angry and when you make him angry, you will be the victim.” ~ Pastor Chris Oyakhilome

For this is how the holy women used to dress, the women who put their trust in God; they bow to her husband, the Apostle Peter’s attention here is about married and newly-married men and women who have received Christ, and who have problems with how they should behave against their unbelieving husband and wife and against their faith.
Peter’s Apostle’s advice to Christian wives is:

He must bow down, the role of the biblical wife is to submit to her husband’s head, in 1 Corinthians 11: 3 says: “But I would that ye should know this, that the head of every man is Christ, the head of the woman is the man and the Head of Christ is God.”

Wife Submit to Husband

The book of Ephesians 5: 22-24 also says: “O wife, submit to your husband as to the Lord, for the husband is the head of the wife as Christ is the head of the church. He is the one who saves the body. Therefore as the church is subject to Christ, so is the wife to the husband in all things. ”

This does not indicate that the wife has a lower character, intelligence or spirituality. In fact, even in the military, it is not necessary for a leader to have higher abilities than a subordinate. But his authority is very important in performing his duties efficiently.

Wives should submit to ‘your husband’ and not to all men, the obedience of the wife to her husband is an expression of her wonderful love and commitment to her.

Disobey

When a non-Christian husband chooses to “disobey the Word,” his wife who believes must bow to her husband so that her husband may be won over to Christ ‘without words.’

This does not mean that the Word of God is not important to human salvation. This only means that if a husband rejects the Word of God, his wife should attract her husband to God through his humility and righteous living. A generous, gentle, submissive, and loving attitude is one of the most effective ways of evangelization the wife can take to bring her husband to God.

He must be faithful, “Pure and virtuous” (verse 2), having a sense of respect.
Wife with pure character and respect to her husband is a faithful wife, it is the duty of all Christian wives, that they must remain pure and godly before God and their husbands.

Conclusion

He should be simple, Peter warns busy women with self-portraising (Paragraph 3), and many women in Roman society color their hair with a weird color and braid it over. They also love expensive jewelry, beautiful costumes and expensive cosmetics. The desire to be beautiful and fascinated like this is inconsistent with God’s design for Christian women.

In the Book of Isaiah 3: 18-24, the Lord says: Because the woman of Zion has become arrogant and has walked on the neck and in the eye, walking with her steps and rubbing her legs, God will make a stone Sion is full of sores and the Lord will shave their foreheads.

At that time the Lord will take away their ornaments: the bracelets, the lamps and the months; ear jewelry, exemplary and veil; head ornaments, foot chain bracelets, belts, fragrances and savers; seal rings and nose rings; party dresses, robes, scarves and coats; mirrors, inner clothes of linen, headband and outerwear.

Instead of fragrant spices there will be a stench, instead of a belt of a rope, instead of a bare head of hair, in exchange for the feast of a sack of sackcloth; and selez sign in place of beauty.…

Should Works of Art Be Repatriated to Their Places of Origin?

Art repatriation refers to the return of works of art or cultural objects to their country of origin or former owners. These items were forcefully taken away from their original owners or creators in their homelands as a result of war, colonialism or imperialism. Repatriation is a hotly debated subject which is ongoing and its fire has little hopes of entirely dying out. Staunch giants and scholars and people in authority such as art curators, art critics, art historians, art teachers, politicians and other well meaning personalities have expressed their views on this controversial subject of restitution of creative products to their places of origin.

The issue of art repatriation and the conflicts it’s engulfed in is deep and vast. Some argue in favour of the repatriation of artworks to their former owners while others strongly object due to equally sound high currency opinions. This essay seeks to discuss the subject on the repatriation of works of art and the efforts put in by global agencies and associations for the repatriation of works of art and the challenges that have ensued. It will then probe the discussion further from both angles on whether to repatriate these African art and cultural artifacts currently adorning the Western museums and stately house of the upper European class to their countries of origin.

Several efforts have been put in place by the various global bodies and agencies in charge of human welfare and inter-national peace to repatriate objects that were illegally acquired by their current owners. Various conventions and declarations have been laid to ensure that the restitution of these cultural artefacts is securely returned to their places of origin. These efforts have met some subtle successes while the challenges are herculean and heinous.

The first effort to repatriate works was the institution of the Lieber code (General Order #100) in 1843 designed by Francis Lieber who was tasked by the US president Abraham Lincoln to propound a set of rules for governing the confederate of prisoners, noncombatants, spies and property thus cultural objects. It is sad that the code allowed the destruction of cultural property under military necessity resulting in the abolishment of this code.

In 1954, the Hague document was developed following the great devastation of the World War II and the great looting of cultural objects and art. This document also met various criticisms because it favoured ‘market nations’ thus wealthy countries over the ‘source nations’ who are mostly poor.

Another effort of repatriation was undertaken by the UNESCO Convention against Illicit Export and the Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin or its Restitution in case of illicit Appropriation in November 14, 1970. Like its predecessors, the terms in the convention were highly rejected because it was too broad and not specific. Also, it prompted black market deals on the selling of these cultural objects.

Recently, most countries are embracing the settlement of repatriation issues with the ‘Mutually Beneficial Repatriation Agreements (MBRAs). This document calls for the settlement of disagreements by opposing parties flexibly in a manner that is beneficial to both sides. This mode of arbitration between owner countries and keeper countries of items will certainly have its downsides.

Some of these obstacles are:

1. Poor legislative approaches developed among signatory states.

2. Failure to establish a system to resolve issues of ownership and compensation.

3. Some works of art and cultural objects do not have clear information on the history to help in ascertaining its place of origin.

4. Sometimes there are several speculations regarding the origin of the work of art making it difficult in knowing the original owners.

5. Legal battle for repatriation of works of art is lengthy and costly.

The question is why are some countries campaigning vigorously for the repatriation of the arts to their homelands? Numerous reasons are often cited. Analyses of items that are called for by their countries of origin are generally famous and valuable works that are paramount to the historical and cultural documentations of those countries. These cultural objects are a symbol of cultural heritage and identity and the return of such historical artworks is a hallmark of the pride of every country and thus must be repatriated. A return of such works calls for a special welcoming ceremony as if a long standing member of the society who has been imprisoned and is now freed is returning home.

Furthermore, advocates for the repatriation of works of art to their places of origin argue that the encyclopedic museums such as the British Museum, Musee du Louvre and the Metropolitan Museum of Art who are the main keepers of the prestigious artistic creations of various countries house them out of the view and reach of the cultures that owns them. It is …

New Jersey’s Tax Exemption And Abatement Laws

P.L.1991, c.431 with final retroactive amendments effective August 5, 1992 consolidated, into one more flexible law, the various long term tax exemption laws under which municipalities may agree with private entities to undertake redevelopment projects in return for tax exemptions.

P.L.1991, c.441, effective for the first full tax year commencing after its January 18, 1992 enactment, consolidated the various five-year tax abatement and exemption laws into one, more standardized law to govern all tax abatements and exemption regardless of the type of structure.

Long Term Tax Exemption Law

Prior to 1993, which was the first full year of operation governed by the new Long Term Tax Exemption Law, under the provisions of N.J.S.A.40:55C-40, the “Urban Renewal Corporation and Association Law of 1961,” commonly known as the Fox-Lance Act, a qualified municipality (a municipality with “areas in need of rehabilitation”) could abate from 15 to 20 years the taxes on newly constructed industrial, commercial, cultural, or residential projects of a corporation, with profits in excess of the limited profits returned to the municipality, or from 30 to 35 years for condominium projects. Condominium projects were given 30 to 35 years in order to provide a realistic period for permanent financing. Also, prior to 1993 under the provisions of N.J.S.A.55:16-1 et seq., the “Limited-Dividend Nonprofit Housing Corporation or Association Law,” a qualified municipality could abate for up to 50 years the taxes on newly constructed housing. Further, under N.J.S.A.55:14I-1 et seq., a qualified municipality could abate for up to 50 years the taxes on newly constructed senior housing. Lastly, prior to 1993, under the provisions of N.J.S.A.40:55C-77, the “Urban Renewal Nonprofit Corporation Law of 1965,” basically the same types of properties and projects as the Fox-Lance Act could be abated for 20 to 25 years with all profits being returned to the municipality. In all cases under these property tax exemption laws in-lieu of tax payments were required.

Commencing in 1993 the provisions of N.J.S.A.40A:20-1 et seq. permitted a qualified municipality to abate the taxes on properties and projects in the same way the pre 1993 law did with the following notable exceptions:

A new, flexible in-lieu of tax formula was established with a phasing-in of payments in-lieu of taxes to occur under both the percent of gross rental formula and the percent of total project cost formula.

The formulas for computing payment in-lieu of taxes for both office projects and housing projects were changed. The minimum annual service charge for office buildings was reduced from 15 to 10 percent of the annual gross revenues of the project or units of the project. Municipalities retained the option of computing the payment in-lieu of taxes at no less than 2 percent of the total project cost or total project units cost. For housing projects the annual service charge was changed from a minimum of 15 percent to a maximum of 15 percent of annual gross revenue of the project or from a minimum 2 percent to a maximum 2 percent of the total project cost or total project unit cost.

The payment in-lieu of tax formulas remains basically unchanged for all other types of industrial, commercial or cultural projects.

Five-Year Exemption and Abatement Law

Prior to 1993, which was the first full year of operation under the new Five-Year Exemption and Abatement Law, there were three types of property to which a qualified municipality (a municipality with “areas in need of rehabilitation”) could grant a partial exemption and abatement for a five-year period.

These property types included:

Homeowner improvements (including additions and enlargements) made to one-unit or two-unit residential dwellings that were more than 20 years old. As determined by ordinance the first $4,000, $10,000 or $15,000 of increased value due to improvement on each unit could be exempted from taxation (see N.J.S.A. 54:4-3.72 to 3.79).

Commercial and industrial improvements and construction projects (with less than a 30% increase in building volume) could have the full assessed value of the improvement exempted with payments in-lieu of taxes made at 2%of project cost or 15% of annual gross revenues or an in-lieu of tax payment phased-in. (see N.J.S.A. 54:4-3.94to 3.112).

Multiple dwelling improvements or conversion of other types of structures to multiple dwellings could have up to 30% of the full value of the improvement or conversion alteration exempted. No in-lieu of tax payment was required (see N.J.S.A. 54:4-3.121 to 3.129).

Commencing in 1993 the provisions of N.J.S.A. 40A:21-1 et seq., the “Five-Year Exemption and Abatement Law,” which consolidated all provisions of the previous five-year abatement statutes, permitted a qualified municipality to grant partial exemptions and abatements on residential dwellings, non-residential structures and multiple dwellings in the same way the pre 1993 law did, with the following notable exceptions made to the new law:

A new, single definition of “areas in need of rehabilitation” …

Women Artists – Painting Cloth-Less Females With Different Perspective

The painting in general and the paintings of body of a cloth-less woman in particular had remained the ‘bastion of male painters’ for a long time. It had made the art of figurative painting more or less male oriented. Paintings were done as seen from the eyes of males exclusively.

Many a time, on seeing these paintings, especially of the paintings depicting unclothed beauty of a female body, we tend to believe that these pieces of art are painted for satisfying the male gaze only. The artists who painted these females looked prejudiced in highlighting those parts of a female body where the males ‘invests’ their eyes much and would take pleasure in looking at the same.

However the scenario is changed a little bit now. If the paintings done by some of the modern women painters are any evidence, the story is taking a decisive turn.

Change in Perspective

In this connection the researches and writings done by Sigmund Freud have also done great help. After he taught us about the new ideas about human psychology, the art world also has undergone a change. Depiction of men and women without clothes are now not a taboo as it was past. And the women painters, too, are now entering the field of figurative paintings. Their works have become acceptable among the people. Accordingly the mindset applied while painting women wearing no clothes has changed considerably. The clan of women artists of the bygone century has proved itself more secured and enjoying greater freedom of expression.

Change in Mindset of Artists

With more women painters entering in the field of figurative painting, this art has gone through a substantial change. The female figures painted by women artists look like an honest subject of the paintings. A woman artist also would paint the breasts and other curvy parts of a woman model. But there would be a wide valley of difference in her painting them, so far as the basic attitude of judging a female body as an object is concerned.

While seeing such paintings done by a woman artist, a viewer with artistic eyes would not find that these paintings are painted only as an object for looking at. Women artists choose cloth-less females as subjects of her artistic depiction and they remain faithful to the main road of the art without going on to the sub-lanes. While painting her models, a woman artist honours the female body by painting all the delicacies and beauties it possesses. 



Source by Naval Langa

Why Many LDS Families Like VeggieTales

Mormons are always looking for ways to teach the scriptures and good principles to their children. Many member of the LDS church use the Living Scriptures. The Living Scriptures are really good, however, they just tell the stories. Learning the stories is only part of understanding the scriptures. Members of the Mormon faith try to do as Nephi directs in the Book of Mormon to liken the scriptures to their lives. There have been attempts to create entertainment that not only tells the stories but also likens the stories to the lives of children, these have been successful also.

Though VeggieTales was not produced by the LDS church or was created by members of the church, it has gained popularity among members of the Mormon faith. VeggieTales is a show where talking vegetables in computer generated animated episodes tell Bible stories. These stories are usually in a parody format. Though members of the LDS faith believe in the Book of Mormon and other scriptures the Bible is a very important part of their religion.

VeggieTales is a universally Christian show, meaning that it tries to be suitable to all Christian denominations. The show does not make pronouncements of doctrines but, instead teaches specific Christian principles. You would not see them teaching an opinion about grace versus works, or a belief in the resurrection. The show teaches things like being kind to your neighbor, helping others and just being a good person.

VeggieTales is non-denominational, because of this the show tends to be appealing to LDS members. The show will tell stories like Jonah, The Good Samaritan, Joshua and others to illustrate to children how they can apply what is being taught in the scriptures to their own lives.

The slogan of the VeggieTales is “Saturday morning fun, Sunday morning values” this rings true to what Mormons are looking for in entertainment. Deseret Book carries selected DVDs of Veggietales, which means that they should be appropriate for LDS families, since Deseret Book is owned by the LDS Church. The material that is sold by Deseret Book must go through a short approval process. This does not mean that VeggieTales should be shown in your next primary or Sunday School lesson in fact that would be against church policy, but what it does mean is that it is appropriate for families to watch at home.

As a parent I have found that for my family we can all sit down and enjoy watching them together. My two year old already knows the story of Jonah. I like the fact that there are people who want to make good high quality entertainment to help bless the lives of children.



Source by Trent Bowen

The Purpose of Modern Dance

The Problem

Modern dance is one of the hardest genres to define by technique. Modern isn’t necessarily fast or slow or done to specific music, or any music. It doesn’t necessarily highlight specific physical skill or tell a story. It isn’t necessarily anything. And it can include everything. This is fine and great from the view point of many choreographers and dancers because in theory it gives them endless possibilities to play with.

The problem is that “endless possibilities” makes modern dance really hard to talk about and really hard for general audiences to understand. (This is important as they are the ones paying the bills.)

This identity crisis is understandable for an art form whose only purpose seems to be not do what was done before. Studios and even colleges often don’t have time to get into the theory of Modern dance. However, only those who take the time to learn where modern dance came from with have what it takes to give it a serious future.

Define the Purpose, Define the Genre

The heart of this problem has a lot to do with the fact that modern’s original purpose was very, very vague. Something like, “Push the boundaries set by ballet! Break the assumed rules and find a new way to move!” That is an inspiring place to start from, but a definition like “modern is movement that is different…” doesn’t give us much to work with.

As modern dance developed so did the purpose. Each era had its own twist on what the purpose of modern dance should be. And interestingly, each purpose has a surviving following today.

The Original Purpose

The beginnings of modern, fortunately, are well documented. We can read the thoughts of the founders to understand what the purpose of modern dance was for them. As we know, a strong purpose was opposition to the rules of ballet. Doris Humphrey talked about the very beginnings of modern dance:

“This is not to say that the ballet form was bad, but only that it was limited and suffered from arrested development- a permanent sixteen, the the Sleeping Beauty herself. So well established was the formula over so many hundreds of years that, as the twentieth century dawned with its flood of new ideas, there was considerable resistance to any change from the light love story and the fairy tale, and there still is.”(The Art of making Dances Doris Humphrey, p.15-16)

And as Hanya Holm put it, “You should not dance academically. It has no departure, no breath, no life. The academician moves within a group of rules. Two plus two are four. The artist learns rules so that he can break them. Two plus two are five. Both are right from a different point of view.” (Visions, p 78)

Ok, so they originally wanted an alternative to the rules and structure of ballet, but what did that mean? A genre has to have definitions of what it is and not just what it isn’t, right?

To Martha Graham modern technique was the beginning of getting closer to the heart of dance in general. Martha herself said, “The function of the dance is communication… Dance was no longer performing its function of communication. By communication is not meant to tell a story or to project an idea, but to communicate experience… This is the reason for the appearance of the modern dance… The old forms could not give voice to the more fully awakened man.” (Vision, p.50)

In “The Vision of Modern Dance: In the Words of Its Creators” (edited by Jean Morrison Brown, Naomi Mindlin and Charles H. Woodford), they describe her work this way:

“Martha Graham had also begun to develop a new dance technique… For the first time American dancers were creating new movements for new subject matter, and reflecting their own era rather than a previous one. Their movements evolved from the meaning of the dance, rather than from previously learned steps developed by peoples of a different culture. In the process of finding new techniques to express their art, these modern dance pioneers broke the existing rules; indeed, that was their intent, for they were… anti-ballet, anti-the past.” (Vision, p. 43-44)

The founders didn’t agree on everything, but they all agreed that the old rules of dance were too restricting and that the purpose of modern dance would be to explore new possibilities in movement. In 1900’s-1930’s, modern dance was current and exciting because it reflected the change that everyone wanted. As this initial excitement wore off, the purpose of modern dance began to shift.

The Purpose of the 3rd and 4th Generations

Modern dance went through a subtle but interesting change between the 40’s and 60’s. The genre had been around long enough by now that the excitement of a …

Virgo Men – How to Go About Loving a Virgo Man

Loving a Virgo man requires complete honesty on your part. Try and deceive or fool him and you will always be found out. The Virgo man must be able to trust you implicitly so always be truthful with him.

Virgo men also hate “drama scenes” so be open and honest when sharing things with him or asking something from him but never let the moment get too heated; Virgo men find it difficult to deal with high emotion. Indeed they often have a burning desire to be on their own with their own thoughts; do understand that this is part of the personality of Virgo.

Virgo man loves to be seduced – start with chat. Talk about him and his work; let him know how impressed you are with him and his achievements. Talk things over with him, let him know he’s wanted and appreciated. Make him feel special. Maintain lots of eye contact and let those eyes tell him that you want to make love with him. If there is any doubt on his part take a gentle lead and simply suggest to him how you would like to please him and what you would like. Ask for his help in pleasing each other.

If it’s your first time constantly reassure him and gently guide him. Virgo man likes long foreplay; aggressive moves tend to turn him off so be patient. Perhaps start with some gentle stroking and petting and maybe suggest a back massage. Spend some time kissing and cuddling until you feel the time is right then slowly show him what you would like to do for him and what you would like him to do for you. If he would like to take the lead then let him and continually let him know how he pleases you.

You must make sure your Virgo man feels loved and needed at all times if you wish to keep him. You must maintain the important details in his life: respect and care for yourself and your health, keep a tidy, clean house and always keep him special.

Keep him special and you give yourself the best chance of keeping him!



Source by Mary E. Ellen

Prophetic Dreams – Dreams of Being Shot At – What Do They Mean?

Did you dream of being shot at? What could your terrifying dream mean? Are you troubled by it?

If you are overwhelmingly disturbed by a recent nightmare, you are not alone. The feeling of despair that you’re feeling right now isn’t unique to you alone.

I myself dreamt of being shot at as well, and here is my story.

The Dream:

And there I was out in an open sandy field. A man with an automatic rifle aggressively sought to kill me. He and I were the only ones on this barren field therefore, the situation I was in was indisputably dire. This man fired at me relentlessly with a vengeful purpose. He had the weapon, I had nothing to fight back with. Since I could not protect myself I panicked. I tried to dock and dodge as much as I could, but I knew eventually one of those flying bullets would hit me. I was vividly horrified.

Then, all of a sudden, the barrage of shooting stopped.

I heard a yell, and I looked up at the direction of the shooting gun man. He appeared hurt and was holding his head. Apparently, something had come from behind me and struck him across the face. I turned around to see what it was, and low and behold, a man was there with a sling shot.

This man shot again at the gunman a second time, and this time, the rock from the slingshot hit the gunman and blasted him far away from me. It defied logic how this happened. The small tiny rock from the slingshot whizzed through the air with astonishing speed, striking the gunman with surprising precision and an unbelievable force. It was like being shot at by a gushing five feet wide water hose, if there ever was such a thing.

Before I knew it, the gunman had deserted his gun with a cowardly quickness and fled the scene. Then I heard a voice say to me: “Hurry up and grab his weapon. Destroy it!” Whose voice this was, I do not know. But the voice sounded thunderously authoritative. Could have been that of the slingshot man, I’m not sure. I immediately did as I was told and started to dismantle the rifle.

It was while I was breaking apart the weapon that I sprung awake. I woke up with a smile plastered on my face. This was a dream that spelled victory. But victory from what?

Since this dream ended well for me, I figured there was nothing to worry about. So I didn’t care and I quickly forgot about it. Big mistake!

Interpretation:

Over the period of a year following this dream, a series of unfortunate events fell upon me and I gradually began to understand what the dream meant. You see, although I was saved by the unknown man at the end of my dream, that still didn’t erase the fact that the gunman attempted, several times, to hurt me.

In the beginning of the narration of my dream, I said the gunman had an automatic rifle and that he fired at me relentlessly. Not once, not twice, but several times.

Now, each bullet that he fired in my direction apparently counted as each problem that I would be coming up against in the near not-so-distant future. And yes, I did come up against major problems. Luckily for me, as in the dream, I was miraculous saved from those problems.

Lesson:

The bottom line here is very simple. If you ever dream of being shot at, you need to be worried…very worried. But before you lose your mind in panic, here are a few questions you MUST answer in order to determine if danger is really lurking.

Before your dream, do you remember hearing or seeing anything related to guns (action movies, the news, heard a story, etc)? Do you remember reading about anything related to guns or shooting in the newspapers or other reading materials?

If your answers to these questions are all NOs, then be very careful. Make sure you pray often. Events are coming your way that aren’t going to be pleasant.

Note:

In my dream, although I was shot at, I was never hit or grazed by any of the flying bullets. So I knew, no matter what happened, whenever this dream did manifest itself in real life, I wouldn’t suffer any unpleasant situations. I may suffer from a passing feeling of dread and/or anxiousness (like I did in the dream when I was being shot at) but I knew I’d come out of whatever lied ahead for me in the future victorious and unharmed, just like in the dream.

Now, if you on the other hand happen to have a dream of being shot at, and you find yourself …

Classical Crossover Music – History and Growing Popularity

Over the years, certain classical music works have gained popularity amongst pop music fans, thereby achieving crossover status. Some of these classical music pieces include the Symphony No. 3 by Henryk Górecki, Canon in D by Johann Pachelbel, and the second movement of Mozart’s Piano Concerto No. 21, K. 467 from its appearance in the 1967 film Elvira Madigan.

Classical Crossover is used to refer to classical artists’ recordings of popular repertoire including the Broadway show tunes, as well as collaborations between pop music artists and classical music performers. A good example that fits this definition is the album songs from the Labyrinth, by Sting and Edin Karamazov. An earlier example of classical crossover music is Deep Purple’s 1969 album – Concerto for Group and Orchestra, while a recent example is Metallica’s 1999 album S&M.

The most popular vocal classical crossover artist is Mario Lanza, the American tenor and movie star who was popular in the 1950s, whose amazing voice caught the attention of even those who were not die-hard classical music fans. Lanza was signed as an artist to RCA Victor on its premium label – Red Seal. One of his most amazing musical feats was his recording of Be My Love, from The Toast of New Orleans, his second film, which hit Number One on the Billboard pop singles chart in February 1951 and sold more than 2-million copies. To-date, no classical label artist, including The Three Tenors, has been able to match this achievement.

However, the beginning of classical crossover as a truly popular form of music is credited to the famous “three tenors” Pavarotti, Careras, and Domingo. During their tours, these three top opera singers presented a mixture of operatic and popular material to huge crowds, which resulted in the production of enormously successful albums.

In recent years classical crossover has come into its own as a genre of music due to the commercial successes of artist such as Yo-Yo Ma and Josh Groban. Through the infusion of elements of pop, rock and influences such as African chants, Appalachian folk tunes and Nordic fishing songs, these musicians bring a new dimension to classical music.

An example of a successful classical crossover group is Il Divo, a creation of Simon Cowell of “American Idol” fame. According to Billboard magazine, the group’s debut album has sold nearly five million copies, and over a million in the United States. Il Divo offers angelic operatic renditions of pop songs, which have been successful on Billboard’s classical crossover chart. Their style is mainly referred to as “Popera” (Pop + opera) which refers to the singing of opera material in a popularized, but still operatic style. Some members of Il Divo have had operatic training and are able to sing many arias and other classical material using an operatic style of singing.

Singers such as the English soprano Sarah Brightman, Charlotte Church, and self-taught Italian tenor Andrea Bocelli also offer renditions of classical works. The fact that these are done by popular singers has also helped transform classical crossover into a popular genre of its own.

To reciprocate the entry of popular singers covering operatic and classical material, trained opera singers, such as Natasha Marsh, Bryn Terfel and Vittorio Grigolo have also produced classical crossover albums hoping to cash in on this genre’s popularity.

Today, Classical crossover music is generally appealing to a bigger segment of the population, although purists criticize it as being an inferior, diluted version of real classical music. Nevertheless, the increasing popularity of this genre has resulted in more young people gaining interest in classical music enough to take up violin lessons or even lessons in opera singing. This has also been fuelled by the glossy, sexy marketing of most of the successful crossover artists that has transformed them into modern day pop stars.



Source by Joan One