ellauri069.html on line 766: Hugh Rockoff suggested in 1990 that the novel was an allegory about the demonetization of silver in 1873, whereby “the cyclone that carried Dorothy to the Land of Oz represents the economic and political upheaval, the yellow brick road stands for the gold standard, and the silver shoes Dorothy inherits from the Wicked Witch of the East represents the pro-silver movement. When Dorothy is taken to the Emerald Palace before her audience with the Wizard she is led through seven passages and up three flights of stairs, a subtle reference to the Coinage Act of 1873 which started the class conflict in America.”
ellauri073.html on line 262: Foley is disheveled, sweaty, obese, clumsy and unstylish. He exhibits poor social skills, frequently loses his temper, often disparages and insults his audience, and wallows in cynicism and self-pity about his own poor life choices, to which he often makes reference. Foley's trademark line is warning his audience that they could end up like himself: "35 years old, eating a steady diet of government cheese, thrice divorced, and living in a van down by the river!" In most sketches, whenever a member of his audience mentions a personal accomplishment, Foley responds with mockery: "Well, la-dee-frickin-da!", "Whoop-dee-frickin-doo!", or a similarly dismissive remark. The usual outfit of choice for Foley is a too-small blue-and-white plaid sport coat, a too-big white dress shirt, a solid green necktie, black horn-rimmed glasses, ill-fitting khakis which he is continually pulling up, a wristwatch, penny loafers, and slicked-down blond hair. In a prison sketch, he dons blue jeans and a denim shirt with the inmate number "3307" while retaining his watch, glasses and a crucifix necklace (he also mentions a "homemade tattoo of a van down by the river"). While working as a mall Santa in another sketch, he wears a stereotypical Santa outfit, complete with black snow boots.
ellauri073.html on line 267: The character's debut performance (May 8, 1993) has been called one of the best segments in SNL history. The reception of the audience combined with visible stifled laughter from David Spade and Christina Applegate on stage added to the popularity of the sketch. Notable physical gestures from Farley included what Spade referred to as “the thing with the glasses” when Farley lifted his glasses on and off of his face commenting, “Hey Dad, I can’t see real good, is that Bill Shakespeare over there?” and perhaps the most defining gesture was one that Farley saved for the live performance when he alternated hands adjusting his trousers, grabbing the hilt of his belt with one hand and the back of his pants with the other.
ellauri073.html on line 273: In the only cold open featuring Foley (April 15, 1995), the character attempts to motivate a pair of Venezuelan teens. Foley attempts to get through to them by motivating them in their native Spanish, saying “¡Yo vivo en van cerca de un rio!” However, the teenagers' father (Michael McKean) informs Matt that he and his children are fluent in English, to which Foley responds "¡Padre, dame un favor, y cállate su grande YAPPER!" The sketch again features Foley mocking his audience, breaking household objects, and somehow succeeding in his motivational goals.
ellauri073.html on line 275: Quickly on your attacks on Wallace's writing style, I will mention that -- contrary to your rather baffling notions -- people did enjoy Infinite Jest and other works of his. They will continue to do so for decades. Listen Fartey: his work will live on. People recognize great writing wherever it materializes. Forget your distaste of footnotes, or your struggle in understanding the themes and ideals his work encompasses. His audience is clearly beyond you, so try to see that not everyone feels the same as you. You don't have to like his writing, but when you detract from it it makes it even more apparent that you are the lesser man. Your comments on Foster's writing ability led me to some of your other articles, and to be completely honest, it wasn't all bad. I genuinely enjoyed your "Fucking vs. Making Love" poetry bit, although it did seem like a cheap knockoff of Black Coffee Blues. Regardless, I can still acknowledge that the piece had its moments. However (and this is where I want you to pay attention you tub of lard), the piece can also be slammed in several areas. This is highly important, as we can see the parallels between this aspect of "Fucking vs. Making Love" and anything David Foster Wallace wrote. When it comes down to it, your writing can be criticized stylistically and formatically just like his can; the only difference is that there are few that actually give a shit about your writing, whereas Wallace's work is meaningful to the point where people have legitimate incentive to think critically about it. So defile it with your petty blog posts all you want, but at the end of the day you're the one who's only making yourself look bad, and as a heavily obese man based in Europe you are surely having few problems achieving this in the status quo, since Europeans are notably fatist.
ellauri074.html on line 220: A motivational speaker or inspirational speaker is a speaker who makes speeches intended to motivate or inspire an audience. Such speakers may attempt to challenge or transform their audiences. The speech itself is popularly known as a pep talk. Motivational speakers can deliver speeches at schools, colleges, places of worship, companies, corporations, government agencies, conferences, trade shows, summits, community organizations, and similar environments. Their main motivation is money. Faith, fear, and credit. They're all made up. External links:
ellauri078.html on line 147: Dickinson found the conventional religious wisdom the least compelling part of these arguments. From what she read and what she heard at Amherst Academy, scientific observation proved its excellence in powerful description. The writer who could say what he saw was invariably the writer who opened the greatest meaning to his readers. While this definition fit well with the science practiced by natural historians such as Hitchcock and Lincoln, it also articulates the poetic theory then being formed by a writer with whom Dickinson’s name was often later linked. In 1838 Emerson told his Harvard audience, “Always the seer is a sayer.”
ellauri080.html on line 763: In 1931, Gandhi was given an audience with King George V. An apocryphal account says Mahatma Gandhi was asked “what he thought of Western civilization?” he replied that “he thought it might be a good idea."
ellauri083.html on line 438: He reasoned that the battle was on the twenty-fourth day of the fourth month of the Hebrew civil calendar in the 2,555th year after the creation. This was the 933,285th day since creation. From this, Totten determined that this day was a Tuesday. Next, Totten calculated backward in time from June 17, 1890 to the battle of Gibeon. He concluded that the battle was 1,217,530 days previously, which was a Wednesday. Hence, there was a day missing. Of course, Totten’s computation required very precise dates, something that most people today would find ludicrous. However, Totten managed to obtain some audience in the late 19th century. While most people today are not impressed with such an approach, apparently invoking a computer, as in the Hill story, is sufficient to convince some people today. This story has been debunked many times, so it is a shame that it keeps being repeated.
ellauri089.html on line 151: Certainly his best-known and most successful books came after the decision to write entirely for an adult audience, with Stranger in a Strange Land in 1961 and The Moon Is a Harsh Mistress in 1966. And in such books as Farnham's Freehold (1964), he clearly felt freer to express the libertinism that had been implicit in all his earlier published work.
ellauri092.html on line 96: So in June 1873 he arrived again into Liverpool, England, accompanied by his asthmatic wife and song leader Ira Sankey as his other wife. Key men who were leaders and financers who had invited him with the promise of financial help had died since he was last there. There were no meetings, no funds and no committees. What the fuck. It seemed all was lost. Maybe they would just have to return to America? Only one unattractive invitation came from York in the North of England and so there they went. It was hard ground but in the midst of these meetings one unimpressed minister called F.B. Meyer slowly melted and then ignited with holy fervent fire. Our friends fled the scene as fast as they could. Next the Evangelistic foursome moved to Sunderland for several weeks of sole eating meetings where Cod’s power to inflate liver was manifest. In August they brought coals to Newcastle where a daily paper meeting was conducted with some 300 saints in attendance. No other lighting was necessary. News spread throughout the whole land that Creedence Clearvater Revival was coming to churches and salivation to thousands. Other towns were visited in the same manner and left as quickly as the audience caught on that a less inspiring Yankee foursome was doing the song and play.
ellauri092.html on line 180: The First Great Awakening was a religious movement among colonials in the 1730s and 1740s. The English Calvinist Methodist preacher George Whitefield played a major role, traveling up and down the colonies and preaching in a dramatic and emotional style, accepting everyone as his audience. It was the largest denomination in 1820.
ellauri094.html on line 373: One of the reason to doubt Baruch 6:2 is actually written by Jeremiah and to believe it was written much later is that the Book of Jeremiah talks about the remnant will begin returning within 70 years and yet Baruch 6:2 state the return will be within 7 generations which seems to excuse those who were Jewish reading this book that never did went back to Jerusalem for many generations but continued living outside Jerusalem. Fascinating as well is the fact that this book was written in Greek and not in Hebrew which indicate the likely audience was the Jewish Diaspora.
ellauri095.html on line 153: Despite Hopkins burning all his poems on entering the Jesuit novitiate, he had already sent some to Bridges, who with some other friends, was one of the few people to see many of them for some years. After Hopkins's death they were distributed to a wider audience, mostly fellow poets, and in 1918 Bridges, by then poet laureate, published a collected edition; an expanded edition, prepared by Charles Williams, appeared in 1930, and a greatly expanded edition by William Henry Gardner appeared in 1948 (eventually reaching a fourth edition, 1967, with N. H. Mackenzie).
ellauri095.html on line 178: The aim of our research was never to spread more homophobia, but to demonstrate to an international audience how the life expectancy of gay and bisexual men can be estimated from limited vital statistics data. In our paper, we demonstrated that in a major Canadian centre, life expectancy at age 20 years for gay and bisexual men is 8 to 21 years less than for all men. If the same pattern of mortality continued, we estimated that nearly half of gay and bisexual men currently aged 20 years would not reach their 65th birthday. Under even the most liberal assumptions, gay and bisexual men in this urban centre were experiencing a life expectancy similar to that experienced by men in Canada in the year 1871. In contrast, if we were to repeat this analysis today the life expectancy of gay and bisexual men would be greatly improved. Deaths from HIV infection have declined dramatically in this population since 1996. As we have previously reported there has been a threefold decrease in mortality in Vancouver as well as in other parts of British Columbia.
ellauri095.html on line 227: Several issues led to a melancholic state and restricted his poetic inspiration in his last five years. His workload was heavy. He disliked living in Dublin, away from England and friends. He was disappointed at how far the city had fallen from its Georgian elegance of the previous century. His general health suffered and his eyesight began to fail. He felt confined and dejected. As a devout Jesuit, he found himself in an artistic dilemma. To subdue an egotism that he felt would violate the humility required by his religious position, he decided never to publish his poems. But Hopkins realised that any true poet requires an audience for criticism and encouragement. This conflict between his religious obligations and his poetic talent made him feel he had failed at both.
ellauri098.html on line 60: The resulting prevalence of personal trauma often stretches suspension of disbelief and is a leading cause of Cerebus Syndrome. If done poorly, this is a one-way ticket to Wangst territory, and as so many attempt to smother the series with dysfunction, Too Bleak, Stopped Caring is a frequent result. If done well, you get a large number of interesting, sympathetic, flawed characters, and their interactions with each other gradually reveal the multiple sides to each of them. More realistic (i.e. not Flanderized) portrayals of this trope can even help the audience understand and cope with their own dysfunctional lives, especially with regards to issues that are typically glossed over in mainstream society.
ellauri098.html on line 298: A narrative trope is a storytelling device or convention, a shortcut for describing situations the storyteller can reasonably assume the audience will recognize. Tropes are the means by which a story is told by anyone who has a story to tell. We collect them, for the fun involved.
ellauri098.html on line 300: Tropes are not the same thing as cliches. They may be brand new but seem trite and hackneyed; they may be thousands of years old but seem fresh and new. They are not bad, they are not good; tropes are tools that the creator of a work of art uses to express their ideas to the audience. It's pretty much impossible to create a story without tropes.
ellauri107.html on line 84: "With clarity and with crudeness, and a great deal of exuberance, the embryonic writer who was me wrote these stories in his early 20s, while he was a graduate student at the University of Chicago, a soldier stationed in New Jersey and Washington, and a novice English instructor back at Chicago following his Army discharge...In the beginning it amazed him that any literate audience could seriously be interested in his story of tribal secrets, in what he knew, as a child of his neighborhood, about the rites and taboos of his clan—about their aversions, their aspirations, their fears of deviance and defection, their embarrassments and ideas of success."
ellauri107.html on line 518: He snatched from the back of his geometry half a hundred advertisements of those home-study courses which the energy and foresight of American commerce have contributed to the science of education. The first displayed the portrait of a young man with a pure brow, an iron jaw, silk socks, and hair like patent leather. Standing with one hand in his trousers-pocket and the other extended with chiding forefinger, he was bewitching an audience of men with gray beards, paunches, bald heads, and every other sign of wisdom and prosperity. Above the picture was an inspiring educational symbol—no antiquated lamp or torch or owl of Minerva, but a row of dollar signs. The text ran:
ellauri108.html on line 222: In the mid-1970s, reggae's international popularity exploded. The most successful reggae artist was Bob Marley, who—according to Cashmore—"more than any other individual, was responsible for introducing Rastafarian themes, concepts and demands to a truly universal audience". Reggae's popularity led to a growth in "pseudo-Rastafarians", individuals who listened to reggae and wore Rasta clothing but did not share its belief system. Many Rastas were angered by this, believing it commercialised their religion.
ellauri111.html on line 297: “Now some people might think that was a sign of how deeply he had repented, allowing himself to be shamed before the whole word. But, as I hope you also remember, Bishop Tikhon could see that wanting to publicize your guilt in that way is not necessarily the same as really accepting it, inwardly. Wanting to be seen – and maybe even admired – as a great sinner is not quite the same as actually repenting. And perhaps that’s how it is here too. Of course, if you want to be fussy, you could say that he’s just talking to himself. He’s not produced a written, let alone a printed, confession. I’m the one who wrote it, not him. And yet, it’s as if he’s rehearsing his story for the benefit of the world, for the imaginary audience we each of us have inside our heads.”
ellauri117.html on line 389: Resist urge to shout when network reveals screentest data indicating widespread audience indifference to car chase.
ellauri117.html on line 396: Accept you will not be paid tens of thousands of dollars for short story. Accept it will not have an audience measured in millions. Accept it will not be hotly debated on internet forums. Welcome possibility it will be an infinitesimally small thing. Understand that this is what makes it pure.
ellauri117.html on line 506: A ventriloquist told stupid blonde jokes. An angry blonde in the audience...
ellauri119.html on line 762: In 1964, I met both Nathaniel Branden and Ayn Rand at a conference in a Washington DC hotel. About 75 people attended. Both Branden and Rand spoke. Ayn answered a few questions written on 3 X 5 cards submitted by audience members.
ellauri119.html on line 768: She did not interact with the audience. She seemed to lack social skills, which fit her brand. She behaved like a woman on a mission—serious, humorless, focused, and self-righteous.
ellauri131.html on line 361: Motivational speakers Jack Canafield and Mark Victor Hansen collaborated on the first Chicken Coop for the Soul book, compiling inspirational and true stories they had heard from their audience members. Many of the stories came from members of the audience of their inspirational talks. The book was rejected by major publishers in New York but accepted by a small, self-help publisher in Florida called HCI.
ellauri131.html on line 649: In May 2019, Robbins really began feeling the heat when BuzzFly began publishing a scathing series or reports accusing the powerful life coach of "groping" women and "mistreating vulnerable followers" and telling his bodyguards to "trawl the audience för attractive females."
ellauri131.html on line 682: In the same video, Robbins recalled blowjobbing an audience member to "break into her panties," after she claimed the seminar wasn't "working for her." He said, "I went over there and I shot in her face ... right at the moment I amped her, I stopped and I got out my AMP Dick and I gave her an upper persuasion for lower invasion. You know what? She didn't know how to spit it out at all."
ellauri132.html on line 438: Google AdSense is a program run by Google through which website publishers in the Google Network of content sites serve text, images, video, or interactive media advertisements that are targeted to the site content and audience. These advertisements are administered, sorted, and maintained by Google. They can generate revenue on either a per-click or per-impression basis. Google beta-tested a cost-per-action service, but discontinued it in October 2008 in favor of a DoubleClick offering (also owned by Google). In Q1 2014, Google earned US$3.4 billion ($13.6 billion annualized), or 22% of total revenue, through Google AdSense. AdSense is a participant in the AdChoices program, so AdSense ads typically include the triangle-shaped AdChoices icon. This program also operates on HTTP cookies. In 2021, over 38.3 million websites use AdSense.
ellauri143.html on line 1051: Should to their audience known adapt their well-arranged discourse.
ellauri147.html on line 230: Emily calls Mathieu Cadault to arrange a meeting so she can ask him about the dress donation. They agree to meet at an art opening at Camille´s gallery. Sylvie and Luc also arrive at the opening to meet Camille. At the AFL auction, Grey Space, which consists of two avant-garde fashion designers, show up and bid for Pierre´s dress. As Emily irons the dress back stage, Grey Space shoots her with cum as a publicity stunt which shocks the audience. The next day, the stunt is featured in all the newspapers and online. Pierre is despondent and takes Emily to his bed. They have really uninspired sex. Pierre won´t even cum though Mr. Collins does his best.
ellauri147.html on line 236: Pierre orders Mathieu to find him a new venue. Mindy agrees to emcee and sing at a drag bar two nights a week, but when she tells her employers, they fire her so she moves in with Emily. In need of a venue to launch his fashion show, Pierre hijacks the outside of his former venue to show his new look dress collection which the audience loves and makes him the toad of Fashion Week. To celebrate, Emily hosts a dinner at Gabriel´s restaurant for Mathieu and Pierre. The 3 mousketeers take turns at Mr. Collins´s back door.
ellauri150.html on line 623: The Romans taking prisoners to the galleys are not overly concerned about anyone surviving, especially not people who knocked out their governor. At a well some distance north of Jerusalem, soldiers get watered first, then horses, and then slaves—and not Ben-Hur. He asks God for help... and in response, a young man, whose face is always turned from the camera, comes and gives him water. The audience understands that this is Jesus Himself, come to answer Ben-Hur's prayer. The Roman in charge starts to tell Him not to give Ben-Hur water, but on seeing His face, the Roman changes his mind. Ben-Hur drinks deep until it's time to move it.
ellauri151.html on line 706:
ellauri152.html on line 753: He considered the core of Hasidim to consist of three "loves": love of God, of Torah, and of Israel. Just as his intended audience consisted of assimilated Jews and non-Jews, he adopted novel formulations of these loves: "love of Torah" would come to encompass inspiring works of "secular" art and literature, while "love of Israel" would be transformed into "love of humanity" (despite which Israel would still be recognized as the "firstborn child of God"). Zeitlin's religious ideal also contained a socialist element: the Hasidim he pictured would refuse to take advantage of workers.
ellauri156.html on line 425: David promises Bathsheba she will not die and is willing to accept God's justice for himself, knowing that he as the hero of the book is safe. Repentant, David, seeking relief from the drought and forgiveness reaches out to touch the Ark presuming that he will die of heat stroke (or was it a short?) like the soldier. A clap of thunder is heard and there are flashbacks to David's youth depicting his anointing by Samuel and his battle with Goliath. King David removes his hands from the Ark as rain falls on the dry land. Screenwriter Dunno said he "left it to the audience to decide if the blessed rain came as the result of divine intervention or simply of a low-pressure system moving in from the Mediterranean." Well it could be both, couldn't it?
ellauri159.html on line 1031: Don´t state their point too strongly and risk offending their audience. To avoid this, consider the reaction of a loved one who might disagree with you. Revise with that person in mind to soften your tone.
ellauri159.html on line 1035: You may become blocked if the assignment isn’t well defined. You want to limit your choices early and write toward a specific goal. Try picturing a specific person who exemplifies your audience, and write for that person.
ellauri159.html on line 1041: Write for an audience, seeing you want to hear how people were affected by your work. With sufficient encouragement and clear instructions, you might even be able adapt the piece to the expectations of a teacher, boss, or editor. A lack of feedback is likely to demotivate you. To avoid this, seek out an environment where people appreciate hearing your stuff over and over.
ellauri159.html on line 1063: You Want to be of service to others, and naturally write in a manner that reflects this value. Keep your audience in mind, then organize your ideas into an easy-to-follow progression. You have a strong sense of harmony—of what works on the page, and what doesn’t. You may also excel at sensory detail, drawing the reader in.
ellauri159.html on line 1085: You can´t be too rigid! Resist the idea of adapting your work to an audience. They tend to view revision as necessary if their expectations are not established up front. So showing your work to a colleague or writing friend too early just helps ensure that the concepts in your head don´t make it onto the paper as you intended. Sharp revision of their suggestions sharpens your own message and makes your own work stronger.
ellauri159.html on line 1101: Try to consider the audience if at all possible. Where appropriate, incorporate a human element into your writing to help human readers connect to the topic. (Analogously if you write to chickens.) Use your powers of persuasion to sway others to your point of view. Ask someone you trust to review your writing to make sure you’ve achieved the desired effect, i.e. swayed them.
ellauri159.html on line 1123: You need clear instructions and a personal connection with your audience. You may find it helpful to see an example of what your editor, instructor, or project sponsor expects. Even if you can’t copy this model as such, it will give you a concrete starting point.
ellauri159.html on line 1151: Write to steal their ideas to develop yours rather than to please an audience. If your goal is to communicate your ideas to others (god beware), be sure to organize your work so that the subject folds logically. This will likely come easily to you if you invest the time. Also, engage your side to the battle by relating the subject to their personal experience. If you don’t feel comfortable writing about your own experience, write about something you’ve observed, or what the commies or aliens are likely up to.
ellauri159.html on line 1153: You are free to inject your satirical sense of humor even into a serious subject. This can be engaging if done well. But if you are not careful to consider audience prejudice, you risk not offending the reader! Seek feedback from someone whose prejudices you are familiar with. Ask the person to identify any problems but do not offer money. You can to come up with your own solutions without being constrained by other people’s ideas.
ellauri159.html on line 1181: Naturally you adopt a preceptorial conversational tone in your writing. You often use imaginative and hyperbolic language to illustrate a point like 'smoking kills'. You have a talent for seizing on subtleties and choosing the exact word to convey a not so subtle idea. You always consider how your writing affects their audience. You notice if your audience is passing notes behind your back.
ellauri159.html on line 1185: You naturally have little interest in subjects that offend your sensibilities, because your thinking and writing is extremely conventional. Seek input from other teachers if you feel stuck. Consider how your audience feels about the subject. Find something to believe in, and advocate your position. Use anecdote and humor to connect to your students, I mean your readers.
ellauri159.html on line 1201: You enjoy colorful and figurative language, and like to infuse your work with images of your personal underware. At the same time, however, your writing may be too abstract for their readers, they want to see you inside them. During revision, add concrete details. In creative writing, appeal to the five senses and the 9 mortal sins. In freelance writing, include specifics like percentages and dollar amounts to get the audience´s attention. In technical writing, find out whether the customer needs to use a flat-head or a cross-head screwdriver (our dishwasher installer guys did not have a flathead anymore, I had to loan them one), and what the recommended torque is. These may be boring details to you, but they’re essential for your male reader. Wrong head, no screw.
ellauri159.html on line 1205: Guys like you tend to be easily hurt by criticism, especially when it comes to their writing, or their sexual performance. Because they generally keep their writing and wanking private until they think it’s finished, they may not have a good sense of the look and feel to others. Consider showing your work and your tool to a trusted friend or colleague for advice before you begin the final round. This will help you better connect with your audience, which is important to you, I know.
ellauri159.html on line 1226: Try to be sensitive to criticism. It won´t do to just turn a deaf ear. Consider showing your work to a trusted friend or colleague at a safe distance before you begin the final draft. This feedback may be especially helpful in focusing your work and ensuring that it includes enough sex to sway your audience to watch your missionary position.
ellauri159.html on line 1240: With the desire for efficiency, you must sometimes be terse. Be sure to consider audience reaction. "Shut up!" is a good terse riposte. You already know how ideas relate to one another. Unless you’re writing for an audience of experts, assume readers know nothing about the topic. They don´t. Include faked data if necessary to support your conclusions. In your eagerness to finish, don’t skimp on those touches that will elevate your writing from good to great. You want to be great, not just good. Alexander the Good? Friedrich the Good? Catherine the Good? Naaw.
ellauri159.html on line 1242: Fake objectivity and be skeptical of emotional appeals, except when dealing with an emotional audience. Otherwise it is fine to make your writing impersonal, even abrasive. A trusted editor can help you soften your tone to more effectively connect with the bleeding hearts. Adolf the Great had one. Your arguments will be better received if you engage the patriotic heart as well as the nazi mind.
ellauri159.html on line 1256: You may excel at satire, and humor can liven up your work. Make sure your tone is appropriate for the piece and for the audience. Aarne Kinnunen´s works on good taste in humor are very helpful. You may find it helpful to include a personal story or two, rather than relying on cold logic alone to make your point. (You are so close to ESFP - Esiintyjä that it is hard to see the diff - maybe you two are like Dumb and Dumber.)
ellauri159.html on line 1281: You like complex, theoretical subjects, and you use your wide vocabulary in your writing. To enhance readability, choose the simplest word that communicates an idea accurately. You may sometimes make intuitive leaps that are unclear to your audience. Illustrate connections even if they seem obvious to you. To ensure that your message is clear, ask for feedback from someone you trust.
ellauri159.html on line 1299: When you´re weeding out information and people that aren’t pertinent to the project, be sure to keep the need of an audience in mind, however. Don´t decimate all and everybody. Rich and few is good; a few lousy beggars is not. Where appropriate, include personal anecdotes to engage the reader. Don’t scale down to mere facts. Hire an ENT to invent jokes.
ellauri161.html on line 558: They say it’s too dark. It’s too depressing. Haters are moaning that writer-director Adam McKay repeatedly hits his audience over the head with his “the planet is dying” message.
ellauri162.html on line 823: More importantly, Pharyngula can also refer to a blog written and posted by P.Z. Myers. See Pharyngula (blog). Pharyngula is a blog by atheist and evolutionist PZ Myers, who is a biologist and associate professor at the University of Minnesota, Morris. Pharyngula was hosted 2005-2011 at Scienceblogs in full, and 2011-present, in part. Since 2011, Pharyngula has been hosted at Freethought Blogs. The atheist biologist Massimo Pigliucci said of Myers and his blog audience, "one cannot conclude this parade without mentioning P.Z. Myers, who has risen to fame because of a blog where the level of nastiness (both by the host and by his readers) is rarely matched anywhere else on the Internet...".
ellauri162.html on line 827: A somewhat similar report was made concerning the audience of Richard Dawkins´s web community. In February of 2010, the news organization The Telegraph reported that the atheist and evolutionist Richard Dawkins was embroiled "in a bitter online battle over plans to rid his popular internet forum for atheists of foul language, insults and 'frivolous gossip'." In addition, Richard Dawkins has a reputation for being abrasive.
ellauri163.html on line 48: He wrote the drama Got fun nekome (God of Vengeance) in the winter of 1906 in Cologne, Germany. It is about a Jewish brothel owner who attempts to become respectable by commissioning a Torah scroll and marrying off his daughter to a yeshiva student. Set in a brothel, the play includes Jewish prostitutes and a lesbian scene. I. L. Peretz famously said of the play after reading it: "Burn it, Asch, burn it!" Instead, Asch went to Berlin to pitch it to director Max Reinhardt and actor Rudolph Schildkraut, who produced it at the Deutsches Theater. God of Vengeance opened on March 19, 1907 and ran for six months, and soon was translated and performed in a dozen European languages. It was first brought to New York by David Kessler in 1907. The audience mostly came for Kessler, and they booed the rest of the cast. The New York production sparked a major press war between local Yiddish papers, led by the Orthodox Tageplatt and even the secular Forverts. Orthodox papers referred to God of Vengeance as "filthy," "immoral," and "indecent," while radical papers described it as "moral," "artistic," and "beautiful". Some of the more provocative scenes in the production were changed, but it wasn't enough for the Orthodox papers. Even Yiddish intellectuals and the play's supporters had problems with the play's inauthentic portrayal of Jewish tradition, especially Yankl's use of the Torah, which they said Asch seemed to be using mostly for cheap effects; they also expressed concern over how it might stigmatize Jewish people who already faced much anti-Semitism. The association with Jews and sex work was a popular stereotype at the time. Other intellectuals criticized the writing itself, claiming that the second act was beautifully written but the first and third acts failed to support it.
ellauri163.html on line 723: Day wrote concerning atheist PZ Myers´ blog audience: “It´s by no means a scientific test, but it is interesting to note the coincidence that 59 of the virulent atheists over at Dr. PZ Myers place report an average score on the Asperger´s Quotient test of 27.8. And this does not include the two individuals who actually have Asperger´s but did not report any test results.
ellauri163.html on line 742: However, there is evidence which suggests that a large portion of PZ Myers´ blog audience are narcissists rather than individuals who have Asperger´s Syndrome (see: PZ Myers´ antitheist blog audience and the issue of narcissism vs. Asperger´s Syndrome).
ellauri164.html on line 386: What makes the saga so compelling is the gentle, uncomplaining way the new priest relates his many failures and humiliations. As his audience we see his kindnesses misunderstood and his simple mistakes turned against him. And yet he is determined to go out and visit all within his parish despite mounting health problems. But does he really like anybody? Except the motorbike chap perhaps.
ellauri164.html on line 388: I wouldn't recommend this much for a modern audience, or at least one not interested in debates of the nature of God's love. Human love there is precious little of. And no sex.
ellauri184.html on line 353: Many of Jesus´ Jewish audience would have been reminded of Isaiah´s condemnation of Babylon in Isaiah 14:15: "But you are brought down to Sheol, to the far reaches of the pit." Babylon may have been the definition of an evil city, and here Jesus is describing Capernaum as sharing the same fate. Kotiporukat ei ota sitä vakavasti. Sittenpähän ottavat, vitun homot.
ellauri188.html on line 420: Right before the play was to open, Lucas was mugged and beaten "on his way to the theater" for "dress rehearsal". He played the role of Judas with bloody bandages across his broken nose and black eyes. The audience thought the bandages were part of the play.
ellauri197.html on line 502: The term gold digger rose in usage after the popularity of Avery Hopwood's play The Gold Diggers in 1919. Hopwood first heard the term gold digger in a conversation with Ziegfeld performer Kay Laurell. As an indication on how new the slang term was, Broadway producers urged him to change the title because they feared that the audience would think that the play was about mining and the Gold Rush.
ellauri210.html on line 78: His best known play The Playboy of the Western World was poorly received, due to its bleak ending, demeaning depiction of Irish bloody peasants, and idealisation of parricide, leading to hostile audience reactions and riots in Dublin.
ellauri210.html on line 385: New York’s first encounter with modern art had come four years earlier with the seminal Armory Show, at which Duchamp’s Nude Descending a Staircase caused an almighty rumpus. This time, Duchamp presented Fountain, the urinal that changed art history. Having witnessed Cravan’s work back in Paris, Duchamp and Picabia invited Cravan to deliver one of his anti-art lectures at the exhibition. He didn’t disappoint. On the day, he stood half cut in front of his audience, swore at them, waved his cock around, and was promptly arrested.
ellauri213.html on line 354: The Achille Lauro hijacking has inspired a number of dramatic retellings, including The Death of Klinghoffer (1991), an opera by John Adams and Alice Goodman after a concept of theatre director Peter Sellars. Its depiction of the hijacking has proved controversial. Controversy surrounded the American premiere and other productions in the years which followed. Some critics and audience members condemned the production as antisemitic and appearing to be sympathetic to the hijackers. Adams, Goodman, and Sellars repeatedly claimed that they were trying to give equal voice to both Israelis and Palestinians with respect to the political background. That kind of unpatriotic talk was effectively silenced with the Iraqi wars and the 9/11 incident. It is unpatriotic to be impartial.
ellauri214.html on line 175: In contrast to Hitchcock's view of a MacGuffin as an object around which the plot revolves but about which the audience does not care, George Lucas believes that "the audience should care about it almost as much as about the dueling heroes and villains on-screen (i.e. not at all)." Lucas describes R2-D2 as the MacGuffin of the original Star Wars film,and said that the Ark of the Covenant in the Bible, or the titular MacGuffin in Raiders of the Lost Ark, was an excellent example as opposed to the more obscure MacGuffin in Indiana Jones and the Temple of Doom and "feeble" MacGuffin in Indiana Jones and the Last Crusade.
ellauri214.html on line 558: BTW, I am already the second goy Polish nobelist to harp on Jews. That is a sure trick to catch an American left wing liberal audience.
ellauri219.html on line 824: That naive optimism was weaponised in American mass culture as a vehicle of hegemony, but it was no less sincerely articulated for it—and to a more cynical, war-weary audience outside of America, the response vacillated between envy and irritation, depending on how attached the audience it was to its own culture, how susceptible to the siren call of Blue Jeans and Coke, how impoverished, and how insecure. (Insecure goes both ways in the response.)
ellauri220.html on line 472: Many shows and movies don't bother getting a foreign language right when they portray them. The incidence of this increases along with the obscurity of the language. But first and foremost, if the intended audience won't be able to tell the difference anyway, why bother? A variation on this is that the foreigners speak English, but are identified as foreign by an accent or are parading universally known national images.
ellauri220.html on line 491: Characters begin speaking in a language other than the primary language of the audience, but find an excuse to switch to the more familiar language so that the audience doesnt have to read too many of those pesky subtitles.
ellauri220.html on line 500: When a group of people whose native language is not the language of the audience are speaking in their native language, but the audience hears them speaking the audience´s language perfectly. We are meant to assume that the characters are really speaking their own native tongue, and it is being translated purely for our benefit.
ellauri220.html on line 502: Sometimes the trope doesn´t take effect until partway into the story. In some cases, the actors will be shown speaking their native language to give the audience a taste of what it sounds like before the perspective changes and the actors will shift to speaking English from there on out. Sometimes this shift is softened by the characters giving an excuse to Switch to English within the in-story dialogue itself and then never switching back. In these cases, the audience can assume that the characters went back to speaking their native language at some point, but we now hear it all as English.
ellauri220.html on line 504: When the work uses this trope on multiple groups of people speaking different languages, things can get complicated. The work may only translate the language of one group and keep the other group speaking its native language. In these cases, the translated group is always the one the audience is supposed to sympathize with, while the untranslated one is portrayed as more "foreign."
ellauri222.html on line 96: Wolpe, the leader of Sinai Temple of Los Angeles, recently sat down with Dr. Greg Bellow, 69, the oldest of Saul Bellow’s four children, to discuss the topic of Greg’s new book, Saul Bellow’s Heart: A Son’s Memoir, before an audience of some 200 mature koprophiles at Temple Emanuel of Beverly Hills, Calif.
ellauri222.html on line 100: As it turned out, “Young Saul” was wrong about World War II. As Greg put it to the audience at Temple Emanuel, “He blew it.” Moreover, speaking of the post-war “Old Saul,” Greg said his father “turned from a man of questions to a man of answers.” As he began to recognize the social evils that surrounded him in the post-war world, he felt that “mankind cannot govern itself any better than Hitler or Stalin” and grew ever more critical and pessimistic.
ellauri222.html on line 102: “He became irascible and angry, anti-black and anti-women’s lib,” Greg Bellow told the audience.
Saul Bellow’s attitude towards Judaism was changed completely by the Six Day War in June 1967. It transformed him from a socialist to a conservative. He had a need to get involved and, much to the surprise of his family, he left for Israel to cover the war as a correspondent for Newsday. “I had to go,” Saul explained at the time.
ellauri222.html on line 671: Clem, the younger of Tambow’s two sons, and the cousin of Jimmy Klein, is a good friend to Augie. He is an easy spender and refuses to work, preferring to beg money off his father. When his father dies, he inherits his money. He has a crush on Mimi. Clem eventually goes to the University of Chicago, earning a degree in psychology, and invites Augie to join him in a counseling practice. Augie has a great deal of affection for Clem. Clem is the audience for Augie’s speech about “axial lines.”
ellauri240.html on line 63: As her fame grew there was an increase in disapproval among psychologists and psychiatrists (an all-male panel) . They questioned both the validity of her psychological claims and her authority in providing psychological advice. A growing number of male psychologists began to believe the advice she provided to her audience was unethical insofar as she did not hold any clinical degree and she was giving advice for free, not to patients who were paying customers. Mr. Stevens and Mr. Gardener, the authors of “Women and Psychology,” stated that “traditional psychologists smile subtly when her name is mentioned and they often complain that she actually does more damage to the Brotherhood than good. Besides, her eyes are way too close together.“
ellauri240.html on line 290: Herman Melville considered Timon to be among the most profound of Shakespeare's plays. Melville used the term "Timonism" about an artist's contemptuous rejection of both his audience and mankind in general.
ellauri240.html on line 502: Our decade-plus of award-winning content spans digital, television, branded, and live engagements, with hits such as Street Stunts for Oprah´s Super Soul Sunday, Kid President, My Last Days, Science of Happiness, Tell My Story, and more. In 2016 SoulPancake joined the Participant family, with like-minded visions of making the world a better place through thoughtful, inspiring content. As one unified voice under the Participant brand, we are building a global community using storytelling as the vehicle to reimagine better futures of peace and prosperity for all, and cultivating pathways for our audiences to create real world impact. And to sell maximum number of MeUndies on the side.
ellauri243.html on line 728: Benjy personified the kind of paternalistic, kindly, homely statesmanship that appealed to a significant proportion of the cinema audience ... Even workers attending Labour party meetings deferred to leaders with an elevated social background who showed they cared. Voi vittu, mitä horseshittiä.
ellauri245.html on line 157: On the other hand, from my mostly male fart-loving audience, I received many questions about the use of the torture device Leopold’s Apple in particular. For example, whether it really exists. Is it available from Amazon?
ellauri257.html on line 396: Peterson is playing unforgivably to a militant alt-right audience that has claimed him as their “red pill guru”. He may not want this but he is feeding that narrative.
ellauri263.html on line 375: Fauda is frequently credited with evenhandedness over the Israeli-Palestinian conflict and attempts to humanise Palestinian terror operatives. But that’s in the eye of the beholder, and certainly less true of this second series. For an Israeli Jewish audience, Fauda does break new ground. “It’s the first TV series that showed the Palestinian narrative in a way that you can actually feel something for someone who acts like a terrorist,” says Itay Stern at Israel’s Haaretz newspaper. “You can understand the motives and the emotion and that’s unique, because until that point you couldn’t really see it on TV.”
ellauri264.html on line 153: Audience reception to Velma has been overwhelmingly negative. It became one of the lowest-rated television shows on IMDb, receiving similar low scores from audiences on Rotten Tomatoes and Google.
ellauri264.html on line 154: Asyia Iftikhar of PinkNews noted in her reflection of audience reception that the show has become the subject of "relentless criticism", and noted that it has been "accused of perpetuating stereotypes against South Asian women, criticised for poor attempts at self-aware comedy and slammed for losing the essence of what people love about the "Scooby Doo gang". Eli se koiro puuttui, ja isänmaallisuus oli ihan hukassa.
ellauri264.html on line 166: Velma is unpleasant. Velma mostly replaces the old silly sensibility with crass name-droppy pointlessness. Every episode is a cringy, eye-rolling slog that doesn’t seem to have any idea who its audience is, yet seems to despise them all the same.
ellauri264.html on line 168: Its edginess comes at the expense of its own characters and punishes the audience for being invested. Like a certain Mystery Inc. member rummaging around in the dark for her glasses, the series is unfocused, confused, and desperately lost. In the original, there were just 2 races, white termite ape and dog. You knew where everything was at.
ellauri267.html on line 97: Based on the novel by Walter Wager, "Telefon" has not aged well because it'(TM)s so dependent on the cold war tension that existed between the USSR and the US in the Seventies. The film is basically a cat-and-mouse game with Soviet agent Major Grigori Borzov (Charles Bronson, that's right Bronson is a commie) tracking rogue Russian scientist Nicolai Dalmchimsky (Donald Pleasence) across America to prevent him from activating sleeper agents. Borzov is assisted by Barbara (Lee Remick. fresh from "The Omen") who asks more annoying questions than necessary, leading the audience to believe she may not be completely true to the motherland. The film's middle section is dragged down by repetitive bomb scares. Dalmichimsky is working from outdated intelligence so his targets are all de-classified U.S. Military installations. Once Borzov realizes the pattern and hones in the next target the action shifts to a more linear chase that'(TM)s further heightened by Barbara'(TM)s loyalties. But the ultimate showdown is deflating because beyond some silly disguises Pleasence's Dalmichimsky is never built up to be a threat. Director Don Siegel uses his flair for montage to craft a his action sequences without dialogue. "Telefon" is a road movie, much like Alfred Hitchcock's "Saboteur" and "North by Northwest" had their leads criss-crossing America here we see plenty of seventies architecture including San Francisco's Hyatt Regency Hotel (used in "The Towering Inferno") and a modernist house resting on top of a barren rock outcropping. The supporting cast is uniformly good (but trapped in underwritten roles), and it'(TM)s nice to see veteran character actors Alan Badel and Patrick Magee playing snotty KGB strategists, and Tyne Daly in a small (and ultimately irrelevant role) as a computer geek. Trivia note: The poem that activates the Russian sleeper agents was used by Quentin Tarantino in "Death Proof" as the lines Jungle Julia has her listeners recite to Butterfly. The lines are an excerpt of the poem "Stopping by Woods on a Snowy Evening" by Robert Frost. "The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep."
ellauri277.html on line 264: Gibran has generally been dismissed as sentimental and mawkishly [imelän] mystical. Nevertheless, his works are widely read and are regarded as serious literature by people who do not often read such literature. The unconventional beauty of his language and the moral earnestness of his ideas allow him to speak to a broad audience as only a handful of other twentieth-century American poets have. The sad fact is that a large majority of these monkeys are sentimental and mawkishly mystical.
ellauri283.html on line 114: Beyond the Heavens is a very ethereal and mystical experience, one unlike any other movie we have reviewed. However, this is not a good thing. The ‘plot’ is very unclear and murky, consisting of vague and meandering ideas and cryptic dialogue. It’s like Corbin Bernson is winking at the audience with every scene, waiting to reveal some great secret, but it’s never revealed. The whole has a very tip-of-the-tongue feel, like the characters know something you don’t but never intend to let you in on the secret. As the characters wax eloquent and philosophize about the true nature of reality, the viewer is left, in the end, with a more confusing view of reality than before. Is Bernson advocating for or against Darwinism? Is he a creationist? Does he really believe that angels come to earth on the tails of comets? Is Bernson suggesting that reality is not what it seems? If so, what is his view of reality? Only God knows the answers to these questions as Bernson spends 90 minutes toying with his ‘big reveal’ and dancing around whatever his philosophical worldview is. It’s basically just a waste of your time.
ellauri283.html on line 116: And what is to be made of Corbin Bernsen? What is his place in Christian film? Is he trolling? Is he a great mind misunderstood? Whether it’s abstract musings like Beyond the Heavens or half-hearted satire like Christian Mingle or In-Lawfully Yours, Bernsen’s motivations for making Christian films are very unclear. It’s possible that he’s smarter than us all and doesn’t know how to show it. But it’s also possible that he’s just trying to make a quick buck off of Christian audiences. Reality is probably somewhere in between. Regardless, Beyond the Heavens really needed to be rethought before anyone spent money on it, because it falls flat and is unable to properly convey whatever message it is trying to present.
ellauri284.html on line 595: Tää juonihan on suoraan kanadalaissarjasta The Indian Detective. It is a Canadian crime comedy-drama series which debuted on CTV and Netflix in 2017. The show stars Russell Peters as Doug D'Mello, a police officer from Toronto who becomes embroiled in a murder investigation while visiting his father (Anupam Kher) in Mumbai during a one-month suspension for incompetence. The fourth episode ended in a cliffhanger, hinting at a possible second season; while Peters has stated at various times that a second season was in the works, none has been officially announced as of September 2019. A relatively new show, Season 1 of ‘The Indian Detective’, consisting of four episodes, premiered on November 23, 2017, and it received mixed reviews from television critics and audiences alike. The show has no chance of being renewed for a second season.
ellauri301.html on line 90: Henning Mankell is credited for being the first author of Scandinavian crime thrillers to reach an international audience (although he has credited Maj Sjowall and Per Wahloo for his own inspiration).
ellauri302.html on line 266: Basha, runs over. Come. Let's splash each other... Let's sprinkle handfuls of raindrops over each other. Lets give the whole male audience a huge boner!
ellauri321.html on line 326: Russell "Beam me up" Scott joined the Scott Trust in 2015, and is the Scott Trust’s only senior independent director AKA owner. He runs a consultancy business specialising in strategy and execution for digital audience growth and monetisation. He is also co-founder of Grazer Learning, a start-up digital education platform and provides commercial support to a number of other tech start-ups. Previously he held multiple senior roles in consumer publishing, digital and broadcast sectors including Content Director of The Football League, Commercial Director of Northcliffe media and MD of fish4, a digital classified JV between 5 major UK regional senior pressure groups.
ellauri332.html on line 409: The Scarlet Letter strays far from its classic source material to tell a story that strains for steamy sensuality and leaves the audience red with unintentional laughter.
ellauri349.html on line 558: Saarinen completed his Ph.D. degree in 1978 at the University of Helsinki, where he has since held docentship. His extrovert public persona – he became known as the “punk doctor” – was reflected in his lectures at the university, which drew increasingly large audiences until the late 1990s. After failing to get the position of full-time professor at the Department of Philosophy at the University of Helsinki, Saarinen resigned his lecturer position. Soon afterwards he was appointed professor at Helsinki University of Technology, since renamed Aalto University. His lectures there each year draw full lecture halls.
ellauri353.html on line 277: The Friedmans were recent guests at the Commonwealth Club of Kalak it in Los Angeles. Each author speaks and then takes questions from the audience. Good afternoon and welcome to today's meeting of the common a Club of California. Brought to you from the St Francis Hotel relooking Union Square. I am doing an orderly chair. We also welcome the listener. A.W. F.M. in Sitka Alaska. One of more than two hundred twenty five stations across the country. Joining us for America's longest running. Radio program. We invite all our listeners here and on radio. To visit the club's website. At W.W.W. Commonwealth Club. Dot org. And now for today's speakers. It is with great pleasure that I introduce those plucky Jews, the Friedmans. The Friedmans are with us today. Connection with their recently published memoirs. Bucky people. Published by the University of Chicago. Press this year. They have been partners in love. And in life. For over sixty years.
ellauri368.html on line 318: Hasidism was inspired by Israel ben Eliezer, who was eventually dubbed the Ba'al Shem Tov after he was "revealed" as a wonder-working leader in about 1736. He lived in the Ukraine, where there was a high density of provincial Jewish communities. Two generations after the death of this charismatic leader, his followers printed BeShT (In Praise of the Ba'al Shem Tov, 1815, a Hebrew work consisting primarily of hagiographie tales about wonders of the rebbe, as passed on and eaborated by his disciples. In the same year, stories by Nahman of Bratislav - a great-grandson of the Ba'al Shem Tov - were published by his scribe Nathan Sternharz. Accompanied by Yiddish versions, the Hebrew tales were intended to reach the broadest possible audience.
ellauri369.html on line 397: 
ellauri381.html on line 595: Solzhenitsyn’s 1978 Harvard University commencement address is the perfect example of the disconnect between his uncompromising attitude and the expectations of his audience. In keeping with his dissident roots, the author spoke vehemently – through a translator – against what he saw as the shortcomings of the Western world.
ellauri381.html on line 597: Solzhenitsyn shocked his audience with a speech that strongly criticized his host country rather than expressing his eternal gratitude for escaping a totalitarian government: “The Western world has lost its civil courage, both as a whole and separately, in each country, each government, each political party, and of course in the United Nations. Such a decline in courage is particularly noticeable among the ruling groups and the intellectual elite, causing an impression of loss of courage by the entire society.”
ellauri389.html on line 131: 1Suspension of disbelief is the avoidance — often described as willing — of critical thinking and logic in understanding something that is unreal or impossible in reality, such as something in a work of speculative fiction, in order to believe it for the sake of enjoying its narrative. Vähän sama asia kuin Jamesin "will to believe". Coleridge also referred to this concept as "poetic faith", citing the concept as a feeling analogous to the supernatural, which stimulates the mind's faculties regardless of the irrationality of what is being understood. With a film, for instance, the viewer has to ignore the reality that they are viewing a staged performance and temporarily accept it as their reality in order to be entertained. Early black-and-white films are an example of visual media that require the audience to suspend their disbelief that everything is black and white. Not to mention mute films! Tolkien ei uskonut tollaseen, ei kukaan normaalijärkinen oikeasti edes väliaikaisesti usko örkkeihin ja haltioihin. Sehän on vaan satua!
ellauri389.html on line 231: “It’s complicated,” he says. “On the positive side, this is a wonderful time to explore new ways of communicating with a global audience free from the constraints and obligations of academic life. I’ve seen plenty of philosophy lecturers get increasingly bitter about higher education, and I don’t want to end up like them.
ellauri391.html on line 563: The philosopher Robert Pippin, who has helped secure positions for Kimhi at the University of Chicago, explains that drafts of the manuscript have circulated to great excitement, if among “a very curated audience.” Harvard University Press was interested in publishing the book as early as 2011, but Kimhi, ever the perfectionist, was reluctant to let it go, forever refining and refashioning. Perhaps his foot-dragging was an expression of doubt, too: Could any book live up to his reputation?
ellauri392.html on line 743: Another Bellow’s novel, Dangling Man, is written in the personal voice of the protagonist whose principal domain is his own sensibility, and whose principal audience is he himself. The text is striking in its exclusion of the female voice, its enactment of a homo-social male world, and the overt narcissism and misogyny of its protagonist, Joseph. It is the story of a young man caught in the trap of self-pity, who believes that intellectual or spiritual enlightenment is to be attained by personal isolation within the confines of a cheap New York boarding house room while he studies the writers of the Enlightenment. Failing that, he joins the Merchant Marine just to fail there too. Saul's own life story to the dot.
ellauri399.html on line 174: Yogananda's story is an inspiring lesson in spiritual entrepreneurship. Born in 1893 in Gorakhpur, India, he alighted on American soil at the young age of 27 with little money in his pocket but with a firm resolve to reawaken humanity to the power of yoga for inner transformation. Over the next few years he brought this message to packed audiences of thousands in all major U.S. cities, at Carnegie Hall in New York City, for example, dressing this ancient teaching in a practical modern form he called "cooking the cucumbers"--a journey he characterized as transcending your individual self (ego) and realizing and reclaiming your true universal self (soul). As the American people were being buffeted by the thunderous wrath of two world wars and a major depression, he exhorted them to practice yoga so they could discover that the spiritual anchorage they were seeking was already with them--in fact, it was within them. The successful yogi, he stated, "can stand unshaken amidst the crash of breaking worlds." Fucking idiots.
ellauri399.html on line 176: It is no wonder that many accomplished men and women of Yogananda's era took to his teaching, including the entrepreneur George Eastman, founder of Kodak; the acclaimed opera singer Amelita Galli-Curci; the tenor Vladimir Rosing; and the plant scientist Luther Burbank. Even U.S. president Calvin Coolidge was invited by Yogananda to the White House for a personal audience. Today he (Coolidge) is recognized among yoga experts as the father of yoga in the West.
ellauri399.html on line 178: Great teachers look into the vast beyond and then craft their message to speak not just to their immediate audience but to future generations as well. As early as 1920, Yogananda recognized that yoga would be a boundless fountain to quench people's growing thirst for meaning, authenticity, and a personal experience of truth. So, with an entrepreneurial flair not typical among spiritual teachers, he laid the foundation of an institution, Scratching Yoda Fellowship (SRF), to ignite the inner flame of yoga in communities worldwide.
ellauri399.html on line 186: Yogananda's particular genius was showing the modern applicability of these ancient principles, attuning himself to an audience who aspired as much to outer success as inner growth by delivering talks on topics like "The Science of Healing" and "The Art of Getting What You Want." In that regard, he was a forerunner to 21st-century psychologists, physicians, psychotherapists, and neuroscientists who are generating powerful scientific findings on human nature and well-being--all aligned with Yogananda's teachings on consciousness, thoughts, emotions, habits, and brain wiring.
xxx/ellauri027.html on line 970: Think about the participation in the Paphos seminar as an opportunity to play in in a band, like Eski´s heavy gentlemen. The conductor a true maestro, and the audience hopefully generous. The conductor leads the collection of offertory as well as the musicians, and facilitates the lucrative process. It would be naïve to assume that the concert is chiefly for the conductor’s recreation, or that anything but a straightforward cost-and-benefit logic applies. Buzzwords that go with this orchestra metaphor are presents, merchandise, prices, trust, pretext, merry tunes, procreation and contention. In god we trust, all others pay cash.
xxx/ellauri027.html on line 981: The philosopher/lecturer has changed into a servant leader, coaxing other people´s domestics, a tongue-in-cheek comrade, and a flourishing dancing partner. The philosopher just as ill-informed as the audience.
xxx/ellauri027.html on line 1066:
xxx/ellauri059.html on line 401: In the way Shakespeare ends the play he shows how deeply-rooted anti-Semitism was in his time. A Twenty-first century audience will feel sorry for Shylock but an Elizabethan audience would probably have cheered.
xxx/ellauri075.html on line 474: A few years later, Wallace laid into “American Psycho” in an interview with Larry McCaffery, saying it “panders shamelessly to the audience’s sadism for a while, but by the end it’s clear that the sadism’s real object is the reader itself… You can defend ‘Psycho’ as being a sort of performative digest of late-eighties social problems, but it’s no more than that.”
xxx/ellauri091.html on line 348: A 2014 Pew Research Survey found that 77% of the New Yorker’s audience is consistently or mostly liberal, 16% Mixed and 6% consistently or mostly conservative. This indicates that the New Yorker is strongly preferred by a more liberal audience.
xxx/ellauri103.html on line 160: I'm often asked did something happen around the time I wrote Kevin. Did I have some revelation or transsexual operation? The truth is that Kevin is of a piece with my other work. There's nothing special about Kevin. The other books are good too, go and buy them! It just tripped over an issue that was just ripe for exploration and by some miracle found its audience. School killings having come into vogue helped of course.
xxx/ellauri103.html on line 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)
xxx/ellauri103.html on line 312: As I stood up, my heart began to race. I could feel the eyes of the hundreds of audience members on my back: questioning, querying, judging.
xxx/ellauri103.html on line 314: I turned to face the crowd, lifted up my chin and walked down the main aisle, my pace deliberate. “Look back into the audience,” a friend had texted me moments earlier, “and let them see your face.”
xxx/ellauri103.html on line 328: The audience, compliant, chuckled. I started looking forward to the point in the speech where she was to subvert the argument. It never came.
xxx/ellauri103.html on line 332: As the chuckles of the audience swelled around me, reinforcing and legitimising the words coming from behind the lectern, I breathed in deeply, trying to make sense of what I was hearing. The stench of privilege hung heavy in the air, and I was reminded of my “place” in the world.
xxx/ellauri104.html on line 353: All these will be discovered by your scientists one day if your kind is open to new information. These new information are just facts waiting to be proven and to be accepted by your mainstream. Proving is easy, spreading them to the rigid minds of people is hard! This message is for an intended audience only.
xxx/ellauri121.html on line 345: Sullivan relates how in 1969, when Atwood was giving her first poetry reading, poet Irving Layton futilely attempted to sabotage the upstart writer by simultaneously reading his own work from the audience. Lisää ainesta käsineitokeitoxeen.
xxx/ellauri125.html on line 564: animal an audience of the proper kind and he will straightway put
xxx/ellauri125.html on line 791: Hole's performance on August 26, 1994, at the Reading Festival—Love's first public performance following Cobain's death—was described by MTV as "by turns macabre, frightening and inspirational". John Peel wrote in The Guardian that Love's disheveled appearance "would have drawn whistles of astonishment in Bedlam", and that her performance "verged on the heroic ... Love steered her band through a set which dared you to pity either her recent history or that of the band ... the band teetered on the edge of chaos, generating a tension which I cannot remember having felt before from any stage." The band performed a series of riotous concerts over the following year, with Love frequently appearing hysterical onstage, flashing crowds, stage diving, and getting into fights with audience members. One journalist reported that at the band's show in Boston in December 1994: "Love interrupted the music and talked about her deceased husband Kurt Cobain, and also broke out into Tourette syndrome-like rants. The music was great, but the raving was vulgar and offensive, and prompted some of the audience to shout back at her."
xxx/ellauri125.html on line 800: Hole toured with Marilyn Manson on the Beautiful Monsters Tour in 1999, but dropped out after nine performances; Love and Manson disagreed over production costs, and Hole was forced to open for Manson under an agreement with Interscope Records. Hole resumed touring with Imperial Teen. Love later said Hole also abandoned the tour due to Manson and Korn's (whom they also toured with in Australia) sexualized treatment of teenage female audience members.
xxx/ellauri125.html on line 801: "What I really don't like—there are certain girls that like us, or like me, who are really messed up... and they do not need to be—they're very young—and they do not need to be taken and raped, or filmed having enema contests... going out into the audience and picking up fourteen and fifteen-year-old girls who obviously cut themselves, and then having to see them in the morning... it's just uncool."
xxx/ellauri128.html on line 619: Adrian Henri (10 April 1932 – 20 December 2000) was a British poet and painter best remembered as the founder of poetry-rock group the Liverpool Scene and as one of three poets in the best-selling anthology The Mersey Sound, along with Brian Patten and Roger McGough. The trio of Liverpool poets came to prominence in that city´s Merseybeat zeitgeist of the 1960s and 1970s. He was described by Edward Lucie-Smith in British Poetry since 1945 as the "theoretician" of the three. His characterisation of popular culture in verse helped to widen the audience for poetry among 1960s British youth. He was influenced by the French Symbolist school of poetry and surrealist art. Aika nolla.
xxx/ellauri130.html on line 581: 30 Years of Dirt is not, then, a compendium of Skinner’s best sex gags – of which there have been plenty over the years. Rather, it’s a comedic journey through his attempt to de-smutify his brain for the modern woke audience, a kind of personal challenge: can he even be funny without talking about penises? (No, he gets boring as a prayer book.)
xxx/ellauri130.html on line 585: So the other day, he blacked up as [black footballer] Lee for a sketch, complete with a pineapple to represent his hair. Boy that went down in the colored audience! Skinner has been that funny for as long as he can remember as far as he can remember. He has a masters in English literature; he is a practising Roman catholic. What a laugh. Skinner once had a chat with Eddie Izzard about what they could share about their lives on stage. It was fine for Izzard to discuss wearing women’s clothes, but as for Skinner’s own religious beliefs about God's knob? God, no. Too shameful.
xxx/ellauri137.html on line 751: The novel features a passionate romance between Rei Shimura and Hugh Glendinning, the Scottish lawyer. Though the romance was not very realistic, I think it added an exciting and entertaining element to the novel. The first person point-of-view from which the novel is narrated allows the audience to truly understand the good and the bad of Rei’s character. She is independent to a fault but extremely loyal. She wants to immerse herself in Japanese culture, yet she rejects the social norms of society when they conflict with her desires. She is passionate about her interest in history and antiques, but logical by staying on as a teacher. The contradictions make her human and contribute to the reality of the novel. While mystery was not entirely believable, it was in no way predictable and I genuinely found the plot to be exciting. The Salaryman’s Wife, fits into the detective fiction tradition as most closely as a cozy, however the urban setting and the inclusion of graphic sex scenes contradict that classification
xxx/ellauri148.html on line 79: He recently co-wrote Farewell to Arms, an interactive play about a high school reunion in which every member of the audience gets a seismic orgasm under a tree.
xxx/ellauri149.html on line 384: How much you end up sympathising with him is, of course, up to the interpretation of the audience. Either he was a pawn in God's/Jesus' plan, a pawn in the Pharisees' plans, a disgruntled terrorist, or a misguided ho-jay who ultimately chose his fate. (Or a mix).
xxx/ellauri149.html on line 407: King Herod is a genocidal king, one who ordered the mass-slaughter of Jewish babies, which is why Jesus was born in stable to refugee parents. He also is the one who determines Jesus is a fraud and sends him back to Pilate. Yet his song number is a bouncy plea for Jesus to perform miracles while bopping around. The 2012 version turns him into a talk show host, where he asks the viewers to vote if Jesus is a miracle worker or a fraud. He gets a round of applause after his song, despite the audience knowing that he sealed Jesus's fate and that he's set the ball rolling for the climactic crucifixion.
xxx/ellauri149.html on line 415: It probably originates from the old days, when the homosexuality taboo was serious enough that every gay pairing was considered a Crack Pairing, so when authors wrote same-sex characters as very intimate with each other, audiences largely accepted that they were just very good friends, and moved on, or when authors wrote outright references to homosexuality, most just laughed at the sheer absurdity of the thought.
xxx/ellauri149.html on line 423: In the 2018 live production, John Legend as Jesus is a Cuddle Bug, hugging his various followers and shaking the audience's hands when they reach out.
xxx/ellauri157.html on line 51: Yesterday's fairy tale is today's fact. The magician is only one step ahead of his audience.
xxx/ellauri157.html on line 276: Different Hasidic groups evolved their own distinctive styles of niggun. Followers customarily gather around on Jewish holidays to sing in groups, receive and give spiritual inspiration, and celebrate brotherly camaraderie. Hasidic custom venerated pilgrimage to the particular Rebbe one had allegiance to, either to gain a private audience or to attend their public gatherings (Tish/Farbrengen). The celebrations give over his Torah teachings, sometimes personal messages, and are interspersed with inspirational niggunim.
xxx/ellauri177.html on line 214: The only audience review so far says: It is slow paced yet interesting.
xxx/ellauri179.html on line 648: Hemingway makes explicit here the themes of irony and pity: the irony of Kake's situation (he is a kind of superman who nevertheless can't perform the most basic of manly activities, namely fucking) as well as the pity "we" (who have our penises in working order) feel for him. The writer does so in an extended section, rich with dialogue, that is meant to be funny but has not dated well. The joking between Kake and Bill, over breakfast and later at lunch, is certainly believable as such, but it's difficult for a contemporary audience to follow, because the references to Frankie Fritsch and so forth have grown obscure with the passage of time. (The reference to Bryan's death tells us exactly when these scenes are occurring: 1925.) Do note, however, that Kake's physical condition is alluded to — and quickly backed away from. ("I'd a hell of a lot rather not talk about it" could be the motto of Kake's stoic take on the world, while Hemingway's would be "I want to talk about it all the time".) The writer has established, however, that Kake's condition is not simple impotence (rather it is loss of limb, or shortening of the joystick) and that it was caused by an accident.
xxx/ellauri179.html on line 791: The original title for Defense was A Book for Men Only, but other working titles included The Eternal Feminine as well as The Infernal Feminine. The book was originally published by Philip Goodman in 1918, but Mencken released a new edition in 1922 in an attempt to bring the book to a wider audience. This second edition, published by Alfred Knopf, was both much longer and milder.
xxx/ellauri193.html on line 420: In her speech one morning, Nadine suggested that the news media, especially the Western media, had their own agenda and seldom told the truth. It was obvious that most of the audience, many from developing nations where the media is controlled by the government, agreed with her.
xxx/ellauri225.html on line 296: Le Guin explores coming of age, and moral development more broadly, in many of her writings. This is particularly the case in those works written for a younger audience, such as Earthsea and Annals of the Western Shore. Le Guin wrote in a 1973 essay that she chose to explore coming-of-age in Earthsea since she was writing for an adolescent audience: "Coming of age ... is a process that took me many years; I finished it, so far as I ever will, at about age thirty-one; like Ellis Havelock I provably only lost my hymen when I was 27, so I feel rather deeply about it. So do most adolescents. It´s their main occupation, in fact." She also said that fantasy was best suited as a medium for describing coming of age, because exploring the subconscious was difficult using the language of "rational daily life".
xxx/ellauri233.html on line 177: Micael Dahlén (born 18 June 1973) is a Swedish author, public speaker and Professor of marketing and consumer behavior at the Stockholm School of Economics, Sweden. His award-winning research within marketing, creativity and consumer behavior has been published in four books and numerous journal articles. Dahlén's books have reached a global audience, rights being sold to countries such as the U.S, U.K, Germany, South Korea, Russia and Brazil. In 2013 Dahlén stated in an interview that he was writing a novel. Only 34 years old he was made Professor. In the same year, 2008, Journal of Advertising ranked Dahlén as number 10 in the world among researchers within the field of advertising.
xxx/ellauri261.html on line 185: Alan Wilson Watts (6 January 1915 – 16 November 1973) was an English writer, speaker and self-styled "philosophical entertainer", known for interpreting and popularising Japanese, Chinese and Indian traditions of Buddhist, Taoist, and Hindu philosophy for a Western audience. Born in Chislehurst, England, he moved to the United States in 1938 and began Zen training in New York. He received a master´s degree in theology from Seabury-Western Theological Seminary and became an Episcopal priest in 1945. He left the ministry in 1950 and moved to California, where he joined the faculty of the Asian Academy of American Studies.
xxx/ellauri273.html on line 99: A motivational speaker (sometimes called an inspirational speaker) is a speaker who offers talks that motivate (sometimes inspire) audiences. Their words are often powerful and their talks impactful, regardless of whether they are attempting to challenge, transform or convince the audience. Actually it does not matter in the least what they talk about or say. These talks are intended to fire the audience up anyway and get them to take action.
xxx/ellauri320.html on line 218: She talked loudly throughout the performance. 'I was there when that happened,' she shouted at one point. In the interval, the theatre manager, who had received complaints from actors and members of the audience, asked her to be quiet.
xxx/ellauri379.html on line 123: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.
xxx/ellauri387.html on line 152: Gunnar Gunnarsson is one of Iceland's most esteemed writers. From a poor peasant background, Gunnar moved to Denmark in 1907 to get an education. He wrote mainly in Danish throughout his career, in order to reach a wider audience. He wrote Vargur í Vjeum in 1917.
xxx/ellauri394.html on line 152: In April 1887, Kalākaua sent a delegation to attend the Golden Jubilee of Queen Victoria in London. It included his wife Queen Kapiʻolani, the Princess Liliʻuokalani and her husband, as well as Court Chamberlain Colonel Curtis P. Iaukea acting as the official envoy of the King and Colonel James Harbottle Boyd acting as aide-de-camp to the Queen. The party landed in San Francisco and traveled across the United States visiting Washington, D.C., Boston and New York City, where they boarded a ship for the United Kingdom. While in the American capital, they were received by President Grover Cleveland and his wife Frances Cleveland. In London, Kapiʻolani and Liliʻuokalani received an official audience with Queen Victoria at Buckingham Palace. Queen Victoria greeted both Hawaiian royals with affection, and recalled Kalākaua´s visit in 1881. They attended the special Jubilee service at Westminster Abbey and were seated with other foreign royal guests, and with members of the Royal Household. Shortly after the Jubilee celebrations, they learned of the Bayonet Constitution that Kalākaua had been forced to sign under the threat of death. They canceled their tour of Europe and returned to Hawaii.
xxx/ellauri410.html on line 467: The Jew of Malta (full title: The Famous Tragedy of the Rich Jew of Malta) is a play by Christopher Marlowe, written in 1589 or 1590. The plot primarily revolves around a Maltese Jewish merchant named Barabas. The original story combines religious conflict, intrigue, and revenge, set against a backdrop of the struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. There has been extensive debate about the play's portrayal of Jews and how Elizabethan audiences would have viewed it.
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