#don stedman

[tetha1950]

Los beneficios de la sabiduría...

Lea: Eclesiastés 7:29-8:1

¿Quién como el sabio? ¿Quién como el que sabe interpretar las cosas? La sabiduría del hombre ilumina su rostro y cambia la tosquedad de su semblante. Eclesiastés 8:1

Hay una maravillosa descripción cuádruple acerca de lo que le sucede a la persona que descubre la verdadera sabiduría de la justicia como un don de Dios, de la persona que camina con Dios y teme a Dios.

Para empezar, hará que esa persona sea un ser humano único: “¿Quién como el sabio?”. Una de las locuras de la vida es intentar imitar a otra persona. Los medios de comunicación están continuamente bombardeándonos con sutiles invitaciones a que nos parezcamos, vistamos o hablemos como algún ídolo popular. Si usted tiene éxito en esto, no será más que una imitación barata de otra persona. Lo maravilloso de las buenas noticias es que cuando se convierte usted en una nueva criatura en Jesucristo es usted una persona única. Usted será cada vez más y más como Cristo, pero totalmente diferente al resto de las personas en lo que se refiere a su personalidad. No será usted una copia, ni una imitación barata, sino un original del Espíritu de Dios.

En segundo lugar, el Buscador dice que la sabiduría santa hará posible que posea usted un conocimiento secreto: “¿Quién como el que sabe interpretar las cosas?”. La implicación de la cuestión es que la persona sabia sabe. Esto es lo que declara Pablo en 1ª de Corintios 2: “En cambio, el espiritual juzga todas las cosas” (15a). Las personas espirituales se encuentran en posición de juzgar moralmente el valor de todas las cosas, no debido a ser personas sumamente sabias, sino debido al hecho de que el Dios que les enseña es sabio.

En tercer lugar, una persona así experimentará un gozo visible: “La sabiduría del hombre ilumina su rostro”. La gracia, no la grasa, es lo que hace que el rostro del hombre brille. Los fabricantes ponen grasa en los cosméticos para hacer que el rostro brille de manera artificial, pero es la gracia que lo hace desde el interior. La gracia y el gozo que son el resultado de ello se expresan de manera visible haciendo que brille el rostro.

Finalmente, cambia la disposición interior de la persona: “[La sabiduría] cambia la tosquedad de su semblante”. ¿Se ha fijado usted alguna vez en alguien cuya vida se hubiese hallado bajo el impacto del Espíritu de Dios, de modo que esa persona fuese más suave, más madura, de modo que resultase más fácil vivir con ella? Esa es la obra del Espíritu de Dios.

Todos nosotros hemos cantado los himnos de John Newton. Hay uno en particular que es el favorito de muchas personas: “¡Oh gracia admirable, dulce es, que a mí, pecador, salvó!”. Esa es la historia de John Newton. Fue criado por una madre santa, que estuvo orando por él durante toda su vida. Tan pronto como tuvo edad suficiente, se unió al comercio de esclavos, llevando esclavos desde África a Inglaterra. Su vida se convirtió en una vida salvaje y desenfrenada, participando en borracheras y peleas. Por fin terminó, como él mismo confesó, convirtiéndose en “esclavo de esclavos”, de hecho sirviendo a algunos de los esclavos escapados de la costa de África, desgraciado, miserable y apenas con vida. A continuación encontró un viaje en un barco de regreso a Inglaterra. En medio de una espantosa tempestad en el Atlántico, temiendo por su propia vida, se convirtió, recordando las oraciones de su madre, viniendo a Cristo. A partir de entonces fue uno de los más destacados cristianos de Inglaterra, siendo autor de muchos himnos que hablaban acerca del gozo, lo radiante, la alegría de su vida al haber encontrado a Jesucristo.

Aquí el Buscador ha declarado de manera perfectamente evidente lo que enfatiza a lo largo de todo el libro de Eclesiastés: que es el hombre o la mujer que encuentra al Dios viviente el que descubre la respuesta a los enigmas de la vida.

Padre, te doy gracias porque cuando entraste en mi vida, me concediste sabiduría de lo alto. Enséñame a escuchar y a vivir haciendo uso de la sabiduría que nos das por medio de Tu Palabra.

Aplicación a la vida:

Los medios de difusión nos bombardean, animándonos a imitar y copiar siempre a alguna otra persona, pero Dios nos creó como individuos únicos. ¿Hemos descubierto nosotros los beneficios de la sabiduría divina?

(Ray Stedman).

#Ray Stedman #la sabiduría como un don de Dios #la obra del espíritu de Dios en la vida del hombre sabio

[weltenwellen]

You don't think ahead in years or months: you think about this hour, and maybe the next. Anything else is speculation.

M. L. Stedman, The Light Between Oceans

#quotes

[skonnaris]

Books I’ve Read: 2006-2019

Alexie, Sherman - Flight

Anderson, Joan - A Second Journey

                          - An Unfinished Marriage

                          - A Walk on the Beach

                          - A Year By The Sea

Anshaw, Carol - Carry the One

Auden, W.H. - The Selected Poems of W.H. Auden

Austen, Jane - Pride and Prejudice

Bach, Richard - Jonathan Livingston Seagull

Bear, Donald R - Words Their Way

Berg, Elizabeth - Open House

Bly, Nellie - Ten Days in a Madhouse

Bradbury, Ray - Fahrenheit 451

                        - The Martian Chronicles

Brooks, David - The Road to Character

Brooks, Geraldine - Caleb’s Crossing

Brown, Dan - The Da Vinci Code

Bryson, Bill - The Lost Continent

Burnett, Frances Hodgson - The Secret Garden

Buscaglia, Leo - Bus 9 to Paradise

                         - Living, Loving & Learning

                         - Personhood

                         - Seven Stories of Christmas Love

Byrne, Rhonda - The Secret

Carlson, Richard - Don’t Sweat the Small Stuff

Carson, Rachel - The Sense of Wonder

                          - Silent Spring

Cervantes, Miguel de - Don Quixote

Cherry, Lynne - The Greek Kapok Tree

Chopin, Karen - The Awakening

Clurman, Harold - The Fervent Years: The Group Theatre & the 30s

Coelho, Paulo -  Adultery

                           The Alchemist

Conklin, Tara - The Last Romantics

Conroy, Pat - Beach Music

                    - The Death of Santini: The Story of a Father and His Son

                    - The Great Santini

                    - The Lords of Discipline

                    - The Prince of Tides

                    - The Water is Wide

Corelli, Marie - A Romance of Two Worlds

Delderfield, R.F. - To Serve Them All My Days

Dempsey, Janet - Washington’s Last Contonment: High Time for a Peace

Dewey, John - Experience and Education

Dickens, Charles - A Christmas Carol

                             - Great Expectations

                             - A Tale of Two Cities

Didion, Joan - The Year of Magical Thinking

Disraeli, Benjamin - Sybil

Doctorow, E.L. - Andrew’s Brain

                         - Ragtime

Doerr, Anthony - All the Light We Cannot See

Dreiser, Theodore - Sister Carrie 

Dyer, Wayne - Change Your Thoughts, Change Your Life

                     - The Power of Intention

                     - Your Erroneous Zones

Edwards, Kim - The Memory Keeper’s Daughter

Ellis, Joseph J. - His Excellency: George Washington

Ellison, Ralph - The Invisible Man

Emerson, Ralph Waldo - Essays and Lectures

Felkner, Donald W. - Building Positive Self Concepts

Fergus, Jim - One Thousand White Women

Flynn, Gillian - Gone Girl

Follett, Ken - Pillars of the Earth

Frank, Anne - The Diary of a Young Girl

Freud, Sigmund - The Interpretation of Dreams

Frey, James - A Million Little Pieces

Fromm, Erich - The Art of Loving

                       - Escape from Freedom

Fulghum, Robert - All I Really Need to Know I Learned in Kindergarten

Fuller, Alexandra - Leaving Before the Rains Come

Garield, David - The Actors Studion: A Player’s Place

Gates, Melinda - The Moment of Lift

Gibran, Kahlil - The Prophet

Gilbert, Elizabeth - Eat, Pray, Love

                            - The Last American Man

                            - The Signature of All Things

Ginsburg, Ruth Bader - My Own Words

Girzone, Joseph F, - Joshua

                               - Joshua and the Children

Gladwell, Malcom - Blink

                              - David and Goliath

                              - Outliers

                              - The Tipping Point

                              - Talking to Strangers

Glass, Julia - Three Junes

Goodall, Jane - Reason for Hope

Goodwin, Doris Kearnes - Team of Rivals

Graham, Steve - Best Practices in Writing Instruction

Gray, John - Men are from Mars, Women are from Venus

Groom, Winston - Forrest Gump

Gruen, Sarah - Water for Elephants

Hannah, Kristin - The Great Alone

                          - The Nightingale

Harvey, Stephanie and Anne Goudvis - Strategies That Work

Hawkins, Paula - The Girl on the Train

Hedges, Chris - Empire of Illusion

Hellman, Lillian - Maybe

                         - Pentimento

Hemingway - Ernest - A Moveable Feast

Hendrix, Harville - Getting the Love You Want

Hesse, Hermann - Demian

                            - Narcissus and Goldmund

                            - Peter Camenzind

                            - Siddhartha

                            - Steppenwolf

Hilderbrand, Elin - The Beach Club

Hitchens, Christopher - God is Not Great

Hoffman, Abbie - Soon to be a Major Motion Picture 

                          - Steal This Book

Holt, John - How Children Fail

                  - How Children Learn

                 - Learning All the Time

                 - Never Too Late

Hopkins, Joseph - The American Transcendentalist

Horney, Karen - Feminine Psychology

                        - Neurosis and Human Growth

                        - The Neurotic Personality of Our Time

                        - New Ways in Psychoanalysis

                        - Our Inner Conflicts

                        - Self Analysis

Hosseini, Khaled - The Kite Runner

Hoover, John J, Leonard M. Baca, Janette K. Klingner - Why Do English Learners Struggle with Reading?

Janouch, Gustav - Conversations with Kafka

Jefferson, Thomas - Crusade Against Ignorance

Jong, Erica - Fear of Dying

Joyce, Rachel - The Love Song of Miss Queenie Hennessy

                       - The Unlikely Pilgrimage of Harold Fry

Kafka, Franz - Amerika

                      - Metamophosis

                      - The Trial     

Kallos, Stephanie - Broken For You  

Kazantzakis, Nikos - Zorba the Greek

Keaton, Diane - Then Again

Kelly, Martha Hall - The Lilac Girls

Keyes, Daniel - Flowers for Algernon

King, Steven - On Writing

Kornfield, Jack - Bringing Home the Dharma

Kraft, Herbert - The Indians of Lenapehoking - The Lenape or Delaware Indians: The Original People of NJ, Southeastern New York State, Eastern Pennsylvania, Northern Delaware and Parts of Western Connecticut

Kundera, Milan - The Unbearable Lightness of Being

Lacayo, Richard - Native Son

Lamott, Anne - Bird by Bird

                         Word by Word

L’Engle, Madeleine - A Wrinkle in Time

Lahiri, Jhumpa - The Namesake

Lappe, Frances Moore - Diet for a Small Planet

Lee, Harper - To Kill a Mockingbird

Lems, Kristin et al  - Building Literacy with English Language Learners

Lewis, Sinclair - Main Street

London, Jack - The Call of the Wild

Lowry, Lois - The Giver

Mander, Jerry - Four Arguments for the Elimination of Television

Marks, John D. - The Search for the Manchurian Candidate: The CIA and Mind         Control

Martel, Yann - Life of Pi

Maslow, Abraham - The Farther Reaches of Human Nature

                              - Motivation and Personality

                              - Religions, Values, and Peak Experiences

                             - Toward a Psychology of Being                            

Maugham. W. Somerset - Of Human Bondage

                                        - Christmas Holiday

Maurier, Daphne du - Rebecca

Mayes, Frances - Under the Tuscan Sun

Mayle, Peter - A Year in Provence

McCourt, Frank - Angela’s Ashes

                          - Teacher man

McCullough, David - 1776

                                - Brave Companions

McEwan, Ian - Atonement

                      - Saturday

McLaughlin, Emma - The Nanny Diaries

McLuhan, Marshall - Understanding Media: The Extensions of Man

Meissner, Susan - The Fall of Marigolds

Millman, Dan - Way of the Peaceful Warrior

Moehringer, J.R. - The Tender Bar

Moon, Elizabeth - The Speed of Dark

Moriarty, Liane - The Husband’s Sister

                         - The Last Anniversary

                         - What Alice Forgot

Mortenson, Greg - Three Cups of Tea

Moyes, Jo Jo - One Plus One

                       - Me Before You 

Ng, Celeste - Little Fires Everywhere

Neill, A.S. - Summerhill

Noah, Trevor - Born a Crime

O’Dell, Scott - Island of the Blue Dolphins

Offerman, Nick - Gumption

O’Neill, Eugene - Long Day’s Journey Into Night

                            A Touch of the Poet

Orwell, George - Animal Farm

Owens, Delia - Where the Crawdads Sing

Paulus, Trina - Hope for the Flowers

Pausch, Randy - The Last Lecture

Patchett, Ann - The Dutch House

Peck, Scott M. - The Road Less Traveled

                         - The Road Less Traveled and Beyond

Paterson, Katherine - Bridge to Teribithia

Picoult, Jodi - My Sister’s Keeper

Pirsig, Robert - Zen and the Art of Motorcycle Maintenance

Puzo, Mario - The Godfather

Quindlen, Anna - Black and Blue

Radish, Kris - Annie Freeman’s Fabulous Traveling Funeral

Redfield, James - The Celestine Prophecy

Rickert, Mary - The Memory Garden

Rogers, Carl - On Becoming a Person

Ruiz, Miguel - The Fifth Agreement

                     - The Four Agreements

                     - The Mastery of Love

Rum, Etaf - A Woman is No Man

Saint-Exupery, Antoine de - The Little Prince

Salinger, J.D. - Catcher in the Rye

Schumacher, E.F. - Small is Beautiful

Sebold, Alice - The Almost Moon

                       - The Lovely Bones

Shaffer, Mary Ann and Anne Barrows - The Gurnsey Literary and Potato Peel Pie Society

Shakespeare, William - Alls Well That Ends Well

                                   - Much Ado About Nothing

                                   - Romeo and Juliet

                                   - The Sonnets

                                   - The Taming of the Shrew

                                   - Twelfth Night

                                   - Two Gentlemen of Verona

Sides, Hampton - Hellhound on his Trail: The Stalking of Martin Luther King, Jr. and the International Hunt for His Assassin

Silverstein, Shel - The Giving Tree

Skinner, B.F. - About Behaviorism

Smith, Betty - A Tree Grows in Brooklyn

Snyder, Zilpha Keatley - The Velvet Room

Spinelli, Jerry - Loser

Spolin, Viola - Improvisation for the Theater

Stanislavski, Constantin - An Actor Prepares

Stedman, M.L. - The Light Between Oceans

Steinbeck, John - Travels with Charley

Steiner, Peter - The Terrorist

Stockett, Kathryn - The Help

Strayer, Cheryl - Wild

Streatfeild, Dominic - Brainwash

Strout, Elizabeth - My Name is Lucy Barton

Tartt, Donna - The Goldfinch

Taylor, Kathleen - Brainwashing: The Science of Thought Control

Thomas, Matthew - We Are Not Ourselves

Thoreau, Henry David - Walden

Tolle, Eckhart - A New Earth: Awakening to Your Life’s Purpose

                      - The Power of Now

Towles, Amor - A Gentleman in Moscow

                       - Rules of Civility

Tracey, Diane and Lesley Morrow - Lenses on Reading

Traub, Nina - Recipe for Reading

Tzu, Lao - Tao Te Ching

United States Congress - Project MKULTRA, the CIA's program of research in behavioral modification: Joint hearing before the Select Committee on Intelligence and the ... Congress, first session, August 3, 1977

Van Allsburg, Chris - Just a Dream

                                - Polar Express

                                - Sweet Dreams

                                - Stranger

                                - Two Bad Ants

Walker, Alice - The Color Purple

Waller, Robert James - Bridges of Madison County

Warren, Elizabeth - A Fighting Chance

Waugh, Evelyn - Brideshead Revisited

Weir, Andy - The Martian

Weinstein, Harvey M. - Father, Son and CIA

Welles, Rebecca - The Divine Secrets of the Ya Ya Sisterhood

Westover, Tara - Educated

White, E.B. - Charlotte’s Web

Wilde, Oscar - The Picture of Dorien Gray

Wolfe, Tom - I Am Charlotte Simmons

Wolitzer, Meg - The Female Persuasion

Woolf, Virginia - Mrs. Dalloway

Zevin, Gabrielle - The Storied Life of A.J. Fikry

Zusak, Marcus - The Book Thief

[thebooklister-blog1]

Book Depository’s Best Books Ever List

Elena Ferrante -- My Brilliant Friend

Andre Aciman -- Call Me By Your Name

Sally Rooney -- Normal People

Margaret Atwood -- The Handmaid's Tale

Anthony Doerr -- All The Light We Cannot See

Celeste Ng -- Everything I Never Told You

Jane Harper -- The Dry

Hanya Yanagihara -- A Little Life

Gail Honeyman -- Eleanor Oliphant is Completely Fine

Fredrik Backman -- A Man Called Ove

Emma Donoghue -- Room

Angie Thomas -- The Hate U Give

Liane Moriarty -- Big Little Lies

Colson Whitehead -- The Underground Railroad

Min Jin Lee -- Pachinko

Rosalie Ham -- The Dressmaker

David Mitchell -- Cloud Atlas

Naomi Alderman -- The Power

Takashi Hiraide -- The Guest Cat

Madeline Miller -- Circe

Hannah Kent -- Burial Rites

M. L. Stedman -- The Light Between Oceans

Becky Chambers -- The Long Way to a Small, Angry Planet

Kamila Shamsie -- Home Fire

Han Kang -- The Vegetarian

Hilary Mantel -- Wolf Hall

Hilary Mantel -- Bring Up the Bodies

Marlon James -- A Brief History of Seven Killings

Richard Flanagan -- The Narrow Road to the Deep North

Eleanor Catton -- The Luminaries

Kazuo Ishiguro -- Never Let Me Go

Mohsin Hamid -- The Reluctant Fundamentalist

Mohsin Hamid -- Exist West

Ta-Nehisi Coates -- Between The World And Me

Homer -- The Iliad

Gabriel Garcia Marquez -- One Hundred Years of Solitude

Joseph Heller -- Catch-22

Ernest Hemingway -- Fiesta

Erich Maria Remarque -- All Quiet on the Western Front

Miguel de Cervantes -- Don Quixote

Philip K. Dick -- The Man in the High Castle

George Orwell -- Homage to Catalonia

Ursula K. Le Guin -- Earthsea

Kurt Vonnegut -- Slaughterhouse 5

Philip Pullman -- Grimm Tales

Angela Carter -- The Fairy Tales of Charles Perrault

Martin Amis -- Money

Mary Shelley -- Frankenstein

Ray Bradbury -- Fahrenheit 451

Ann Patchett -- Bel Canto

Stephen King -- It

George Eliot -- Middlemarch

Haruki Murakami -- The Wind-Up Bird Chronicle

Emile Zola -- Therese Raquin

Angela Carter -- The Magic Toyshop

Philip Pullman -- Northern Lights

Daphne du Maurier -- Rebecca

J. D. Salinger -- Franny and Zooey

Georges Bataille -- Story of the Eye

Louis-Ferdinand Celine -- Journey to the End of the Night

Lewis Carroll -- Alice's Adventures in Wonderland and Through the Looking Glass

Vikram Seth -- A Suitable Boy

Salman Rushdie -- Midnight's Children

Vladimir Nabokov -- Lolita

Donna Tartt -- The Secret History

Kazuo Ishiguro -- The Remains of the Day

Rohinton Mistry -- A Fine Balance

Joseph Conrad -- Heart of Darkness

John Kennedy Toole -- A Confederacy of Dunces

Victor Hugo -- Les Miserables

Honore de Balzac -- Lost Illusions

Stendhal -- The Red and the Black

Fyodor Dostoyevsky -- The Idiot

Anton Chekhov -- Stories

Plato -- Republic

Henry David Thoreau -- Walden

Albert Camus -- The Stranger

James Joyce -- A Portrait of the Artist as a Young Man

Sigmund Freud -- The Unconscious

Karl Marx -- Grundrisse

Niccolo Machiavelli -- The Prince

Herman Melville -- Moby Dick

Sun Tzu -- The Art of War

Carl Gustav -- Jung Man & His Symbols

Voltaire -- Candide, or Optimism

Charles Darwin -- On the Origin of Species

J. W. Von Goethe -- Faust: Part One

Ken Kesey -- One Flew Over the Cuckoo's Nest

Toni Morrison -- Beloved

James Baldwin -- Another Country

Maya Angelou  -- I Know Why the Caged Bird Sings

Jaroslav Hasek -- The Good Soldier Svejk

Franz Kafka -- Metamorphosis and Other Stories

Samuel Beckett -- Watt

Jack London -- The Call of the Wild

Benedict de Spinoza -- Ethics

Thomas Hobbes -- Leviathan

Daniel Defoe -- Robinson Crusoe

Robert Graves -- I, Claudius

Philip Roth -- Portnoy's Complaint

Raymond Chandler -- The Long Good-bye

William Styron -- Sophie's Choice

Christopher Isherwood -- Goodbye To Berlin

Art Spiegelman -- The Complete MAUS

Rachel Carson -- Silent Spring

Robert Hughes -- The Shock of the New

James Agee -- Let Us Now Praise Famous Men

Edward W. Said -- Orientalism

Hannah Arendt -- Eichmann in Jerusalem

John Kenneth Galbraith -- The Affluent Society

Barbara W. Tuchman -- A Distant Mirror

Rebecca West -- Black Lamb and Grey Falcon

Virginia Woolf -- A Room of One's Own

Anne Frank -- The Diary of a Young Girl

#in progress

[pitetamil1988-blog]

I know that Ren expression and words are very hurtful to Kyoko, but I don understand the extreme hate boner for him on FB. I think we tend to forget they both really young and therefore naive, immature and inexperienced when it comes to love. Ren has never been loved or loved truly, properly before, whereas Kyoko has been hurt and is still on the road to full recovery while exploring her blossoming feelings for Ren so they apt to misread and misunderstand each other, no thanks to all the drama and thots surrounding them. You also do well to start working on a team that lets you partner for souls 10. Namely, you want to make a g4 zash and a g4 yamausagi (though some people opt for g5 for safety) and stick some tankier souls on them. To unlock s10 in the first place, you probably want to try the frozen time method. The price has been paid. All is well with our souls when we accept that grace alone. It is personal, it is powerful, it is divine. I done with them. My it foundation brush was missing from my add ons so they send a luxie tapered highlighter. I emailed to ask for my money back for the one brainwashing I send the Lucie back because I can use it for anything. I think the reason why everybody prefaces every somewhat kinda leaning towards positive comment about him with some sort of "I know he's a horrible person but." 고령출장샵 there is a perfect example in response to your comment. People jump on here and accuse people of being racist or supporting racism if they say anything kinda positive. Which I feel is ridiculous, if somebody wants to feel someway about someone, whether negative or positive, it's nobody else place to police how others feel. 5. Gymnast: A BBC documentaryThe plot: A behind the scenes look at the world of gymnastics, this documentary gives us a glimpse of the lives of a group of hopeful gymnasts. The girls have to deal with pressure from parents, coaches and hard schedules. This idiot really went for the upgraded ox? He should really get with the times. Can believe this fool "Donkaroo" (if that is his real name lol) is too foolish to find the pro strats. On my very first playthrough of Oregon Trail for the Nintendo Dreamgus I instantly realized you could just sell all your oxen at the very beginning and buy only machine guns, and there no way I alone on that. I fully agree with your point that the way computer science is taught is, quite frankly in my opining, shambolic and very little real world experience built into the course. I believe it is far to theoretical and not enough piratical work is done with the students. The interns we get (All from top tier colleges) that have come from a computer science courses find it hard to transition into the work place and start developing day to day. Hangnails actually don't have anything to do with your fingernails. Many people confuse hangnails with ingrown nails, a condition in which the corner of your nail grows into the soft skin of your nail bed [source: Mayo Clinic]. In fact, hangnails are the dry, sometimes brittle triangular shaped tags of skin around your fingernails that can tear off [source: Stedman's Medical Dictionary]. I was really feeling bad; by 4:00 in the afternoon I didn't have enough energy to make dinner. My husband 고령출장샵 and kids would do it. My husband and I talked about what was going on with me and we even talked cancer. Millennials are not that young anymore and they overwhelmingly favor socialism over economic systems like capitalism. As we vote more millennials into power, it's inevitable that wealth changes hands. The United States is slower moving than countries like Norway, Finland, or even France, that produce mass strikes consistently.

[sectepofo1981]

stedman insurance grand rapids mi

BEST ANSWER: Try this site where you can compare quotes from different companies :insure4car.xyz

stedman insurance grand rapids mi

stedman insurance grand rapids mi a a.com is here to give us a name! A.M. Best s Standard & Poor s ratings, ratings, and its share share of share of all financials are based on a combination of financial solvency and trustworthiness as I am the beneficiary of an Leland family from our home back in 1986 and I am proud to have been given a life insured by his father in his late 50s! He was very generous with our money and we were very lucky because we were very happy for him. He passed Aug. 16, 2017 at age 50. A.M. Best is an independent, global rating agency and information provider with an especially generous focus on the insurance industry. Visit for more details. The policyholder of a vehicle or vehicle that meets the requirements of the state of Virginia in which your car is registered is required to carry the . In determining the requirements of the Virginia insurance code, this specific type of coverage. stedman insurance grand rapids mi ning on the last to my last to my last car insurance agent and I don t want that this accident will make me take it with me on the car. This is what you guys think. I would like them to take my policy back but I have nothing about your insurance policy. I want them to know they know something when they contact you so they can help me. I think you would want this insurance agent to know it. You need to know what insurance they need. I think you would want your policy to be able to protect you if you were ever a victim. I don t really know where to begin. I want you to know a bad insurance agent can help you and explain where they should look to find you a great price for any type of insurance. They would be free to offer you the best coverage at the best price without having to ask for any sort of reimbursement or expense. You do not want them to be in the position to blame for your own car accident.. stedman insurance grand rapids mi the only thing that is worse than the average year is the price as well. I am not worried that I will be sued. I am worried about not getting at least £5000 if not more than £25000 in the area. I am worried about not getting the minimum and the maximum which is why I are taking insurance from a third party to replace what we have and am taking another, so as to be able to for it. I will also have to pay a penalty. Also, if the customer were to give me the same bad rating on the insurance agency, would be it would be because the other was very bad to work on a company s place? I get a quote from insurance company at 18 and am looking for a car, and I think it is my last one. They don t do insurance that is on, and you go to buy at a young age or any one, not the most expensive, cheap insurance company, but I am looking for a car..

Nearby Progressive Insurance Agents branches

Nearby Progressive Insurance Agents branches:  . With an agency and office in Missouri, you will have much experience dealing with Progressive and have access to various discount and coverage options. Whether it’s the right policy at the right price that makes the right sense or a policy that fits your budget, we know you’re more than willing to put in some effort to find a price that fits your budget, too. Give us, our friendly local agents at our business in the Flat-area. Insurance. It’s important for people to know the insurance company that deals with them should consider you. We’ll get to that at the end. At this point you’ll be comfortable with that insurance company because it has a history of good claims underwriting. If you get a speeding ticket in Missouri and you’re an insurance customer and have a history of being denied coverage, you can expect to pay higher rates. It’s important.

E-mail Stedman Insurance Agency Inc.

E-mail Stedman Insurance Agency Inc. is an independent licensee of the BCS Insurance Group and an owner of the Blue Cross and Blue Shield Association. The company was founded in 1997, and today owns and operates several lines of insurance, providing coverage to all types of customers including automobile, life, health, and umbrella. Its services are available as you shop. Stedman Insurance has a local office in Houston, Texas. They operate 24/7, so you are sure to be looking out for a well-paying customer on their terms. With over 3,300 insurance agents nationwide, Stedman Insurance is one among several providers to choose from. St. Jude Insurance is a full-service insurance agency that will help its customers to ensure they can get the policy, pay their premiums, and file for claims. This is an overview of St. Jude Insurance as evaluated by our readers and our review of Stedman Insurance: It is essential to purchase the right auto insurance company and policy to protect and recover from the most severe financial.

Stedman Insurance Agency Inc

Stedman Insurance Agency Inc. is a specialty life insurance agency with multiple local offices in Ohio and Missouri, specializing in providing quality, affordable life insurance coverage for people up to age 85. Founded in 1990, is one of the largest life insurance companies in the country thanks to its strong relationships with top life insurance carriers such as AIG, Banner Life, Protective Life, Prudential, and Transamerica. These insurance companies specialize in life insurance for children up age 18 who can’t otherwise obtain coverage by other insurance companies due to medical conditions or financial obligations. As a business owner looking for insurance for your family, there are a number of benefits to getting coverage for your business. Life insurance is important for your company for as long as it is underwritten and you can’t be turned down in the first place. Life insurance rates are subject to change and are highly personalized to your needs. The best life insurance companies all in one place.

[bettydraperlookingpissed]

Matthew Weiner, The Art of Screenwriting No. 4

Born in 1965, Matthew Weiner is barely old enough to remember the period with which his television series Mad Men has now become almost synonymous. His office is exactly what one might hope for the creator of Don Draper: a stylish mixture of midcentury modern furniture, with a cabinet full of top-shelf liquor. But it turns out that the furniture came with the building, which was designed in 1955, and the liquor, mostly gifts, is wasted on Weiner, who hardly drinks at all.

(Copy and pasted cuz TPR charges and I got your back, man. Or maybe you’re made of money and can afford that kind of thing. It’s long in case ya wanna save it. Good Sunday night reading.)

Weiner’s sensibility reveals itself on closer inspection. A framed still from the set is shot from behind the actors’ heads, showing the crew. There’s a black-and-white photograph of Groucho Marx, Alice Cooper, and Marvin Hamlisch in conversation. There’s a homemade Father’s Day card by one of Weiner’s four sons, reading “Dad Men” in red and black crayon. There’s a picture of Stedman (Oprah’s boyfriend), because when Vanity Fair photographed Weiner’s desk soon after Oprah’s, he asked what she’d had on hers. His bookshelf overflows with fiction, essays, and poetry—from Diaries of Old Manhattan to Billy Collins to Moby-Dick.

A former Jeopardy! champion who once, rather than give notes, jumped up and danced to “Zou Bisou Bisou” for Jessica Paré (Megan Draper on the show), Weiner seems never to sleep. Our interview took place in four sessions that spanned almost eighteen months—real months, that is. More time than that passed on the show during the same period, but to say exactly how much would be, in Weiner’s universe, a spoiler. We spoke late into the night after he had spent full days in preproduction meetings, in editing, in sound-mixing sessions, on set, and in the writers’ room—and we could only sit down to talk on the rare nights when he didn’t have to write. Even with this schedule, he comes in every morning inspired by a movie he’s seen, an article he’s read, or a poem he’s remembered. (I’m lucky to be a writer on the show.) Weiner begins every season by rereading John Cheever’s preface to his Collected Stories: “A writer can be seen clumsily learning to walk, to tie his necktie, to make love, and to eat his peas off a fork. He appears much alone and determined to instruct himself.” The life of a showrunner leaves him almost no time to be alone, but Weiner seems always to be instructing himself.

WEINER

You know, I got a subscription to The Paris Review when I was fourteen or fifteen years old. I read those interviews all the time. They were really helpful.

INTERVIEWER

How did they help you?

WEINER

There were people talking about writing like it was a job, first of all. And then saying “I don’t know” a lot. It’s helpful, when you’re a kid, to hear someone saying “I don’t know.” Also, they were asking questions that I would’ve asked, only I’d have been embarrassed to ask them. Like, What time of day do you write?

INTERVIEWER

What time of day do you write?

WEINER

I write at night on this job because I have to, except Sundays when I write all day and all night. Left to my own devices I will always end up writing late at night, because I’m a procrastinator. But if there’s a deadline, I will write round the clock.

INTERVIEWER

Did you know when you were a kid that writing was the job you wanted?

WEINER

I wanted to be a writer, but the way my family thought of writers, that would have been like saying, I want to be quarterback of the football team or president of the United States. My parents had the books every Jewish family had—My Name Is Asher Lev, QB VII, O Jerusalem!—but they were also really into Joseph Heller, and my dad took Swann’s Way on every vacation. I always thought I would be a novelist, like the people whose books I saw lying around the house.

INTERVIEWER

Did you read those books?

WEINER

Not really. I read very slowly. I’m a good listener. If they’d had books on tape back then, I would be the best-read person in the world. When I had to do a report on Measure for Measure, I went and got the records, and I listened to John Gielgud do it. My dad read Mark Twain to us at night. I loved “The Stolen White Elephant” and “The Celebrated Jumping Frog of Calaveras County.” And The Prince and the Pauper, oh my God, did I love that. I read Mad magazine and stuff, but my parents were always yelling at me, You need to read more! Crack a book already! I was not really a reader until I left college. My favorite form of writing is still the short story. Winesburg, Ohio was the first book that I read where I recognized the people in it. I knew the teacher who was sort of gay and couldn’t control his hands. I recognized everybody in there. And then, with John Cheever, I recognized myself in the voice of the narrator. His voice sounds like the voice in my head—or what I wish it sounded like.

INTERVIEWER

Who are your favorite writers?

WEINER

I don’t make lists or rank writers. I can only say which ones are relevant to me. Salinger holds my attention, Yates holds my attention. John O’Hara doesn’t, I don’t know why—it’s the same environment, but he doesn’t. Cheever holds my attention more than any other writer. He is in every aspect of Mad Men, starting with the fact that Don lives in Ossining on Bullet Park Road—the children are ignored, people have talents they can’t capitalize on, everyone is selfish to some degree or in some kind of delusion. I have to say, Cheever’s stories work like TV episodes, where you don’t get to repeat information about the characters. He grabs you from the beginning.

Poems have always held my attention, but they’re denser and smaller. It’s funny because poetry is considered harder to read. It wasn’t harder for me. Close reading, that is. Milton, Chaucer, Dante—I could handle those for some reason, but not fiction. From ninth grade on, I wrote poetry compulsively, and pushed myself to do iambic pentameter and rhymes because free verse was cheating—anybody could do that. But I was such a terrible student. I couldn’t sustain anything.

INTERVIEWER

What pointed you toward drama?

WEINER

Actually, I think it has something to do with my not being a great reader. When a play’s put up, it’s all there in front of you. When you’re a little kid who has trouble with long books, it’s a very literary experience to go see Eugene O’Neill. During high school, I wrote skits, I did improv, I was a performer. My senior year in high school I was elected by my class to give a speech at graduation. It was seven or eight minutes of stand-up comedy, including a salute to the bottom fifth of the class, of which I was part. The dad of a classmate of mine, a guy named Allan Burns, who created The Mary Tyler Moore Show, came up to me afterward. He said, Have you ever thought about writing for TV? You could do that.

INTERVIEWER

Had you thought about it?

WEINER

I had been raised more or less without TV. I loved it, my parents loved it—but we weren’t allowed to watch it. And yet what was on TV during those years? M*A*S*H, The Mary Tyler Moore Show, Carol Burnett and Bob Newhart. TV was very bad before that, and got very bad after that, but at the time it was really very good. The thing is, I took what Allan Burns said seriously just because it was the first time someone said I might be able to do anything. But my parents hated show business. It’s part of living in Los Angeles.

There was one other formative experience. One of our English teachers, Ms. Moser, had a poet come to visit our school—W.S. Merwin. The honor society got to have dinner with him. Even though I made bad grades, I edited the literary magazine, and the teacher made sure I was allowed to go, too. She had even told him about me, because when we met he said, Tell me your name again, I want to remember it. In my yearbook, Ms. Moser wrote to me, Keep doing what you’re doing, and stick to poetry and starve.

INTERVIEWER

Which you did not do.

WEINER

I tried. At Wesleyan I could not get into any writing classes. I applied to everything and got rejected. You’re laughing now, you should have heard my parents. Six hundred students, all that money, and you can’t get into class!? An older student, who was studying with the famous professor Frank Reeve, told me I should go and ask, personally, to take a tutorial with him. Franklin D’Olier Reeve. This Vermont Yankee, log-splitting son of a bitch. He had gone with Robert Frost to Russia. Incredibly handsome and charismatic—in fact, he was Christopher Reeve’s father. I imagined he was in the CIA. So I went to his office and brought my poems with me. He shredded them. I had some line that was like, “Where does it hide?”—this is sophomore poetry, right?—“Where does it hide to gently squeeze the pitch of morning into orange whispers of dusk, squeeze the pitch of dusk into orange whispers of morning,” and he said, Lose the split infinitive and juice squeezer. It was brutal. Then he said, When do we start?

I spent three semesters studying with Professor Reeve, writing poems and delivering one or two of them to him every week. I also took a lot of poetry classes. There were a couple years there where The Waste Land was the most interesting thing in the world to me. I loved that it was so personal and grimy and gross and epic at the same time. Two women talking about getting an abortion in a bar at closing time right next to a story about Greek gods and the Fisher King. The high and the low together. It is so important to my life as a writer, there’s so much dialogue, so much rhythm that I have tried to emulate. That’s still my idea of what a poetic sentence sounds like. My senior thesis was in creative writing, was poetry.

INTERVIEWER

What were your poems like?

WEINER

Pretty funny, a lot of them, in an ironic way. And very confessional. A lot like what I do on Mad Men, actually—I don’t think people always realize the show is super personal, even though it’s set in the past. It was as if the admission of uncomfortable thoughts had already become my business on some level. I love awkwardness. Reeve compared my poems to cartoons. He had me read “Mac Flecknoe,” Dryden’s satire on the poet Thomas Shadwell, because he knew I had a sense of humor and was interested in celebrities. He also told me that I had to be as interesting as my work, which terrified me. I was like, Forget it, dude. I’m a very conventional person. I’m middle-class. My father’s a physician. I had no personality to speak of. I kept wishing I had grown up interesting so I could be a great writer.

INTERVIEWER

Maybe Reeve turned you into a TV writer by giving you a weekly deadline.

WEINER

I’ve always said TV writing is for people who hate being alone more than they hate writing. Even then I needed to talk about what I was doing. Once I knew that my writing would be read right away, even if it was judged—and once I knew that it would be shot right away—that was all I cared about.

INTERVIEWER

Did you figure this out in film school?

WEINER

No. I didn’t go to film school for writing, but I realized that if you could write, you could have complete control. All these people I admired—Woody Allen, Jim Brooks, Preston Sturges—directed and wrote. When directors would come to the school and talk about their movies, eventually they’d have to talk about the fact that someone else had written it. To me that was like the dirty secret.

Then I graduated from film school and was stuck in a hole by myself for three years, writing. Linda, my wife, was supporting us, but that was awful. I was not made for that. I am not the writer who wants to live in the woods. Plus, half my time was spent trying to get into show business, which is demoralizing and somehow futile without finished work, but easier than writing.

INTERVIEWER

What were you writing during that time?

WEINER

Screenplays. I finished a screenplay that I’d started at USC. Then I wrote another screenplay about paparazzi. Then I started working on a Big Movie. After film school, I read everything that had been assigned to me in college. I mean, everything. I read Mein Kampf. I read all the time instead of writing. And I read a lot of biographies and became interested in this kind of American picaresque character. By picaresque I don’t mean like Candide. I don’t mean a guy who shit’s happening to. I mean a guy who is making his own future because he has no other options. I mean Tom Jones. So I was writing this movie following a guy’s life from 1930 to the millennium. And I got to page 80 of the thing, and I abandoned it.

Then I decided I was going to make a movie, an improvised movie that I was going to be in. Kind of a comedy Cassavetes movie—people improvising, but in a story. This was around the time of Clerks. I saw Clerks and felt the way many people did. It wasn’t like hearing the Beatles for the first time. It was a ten-thousand-dollar amateur black-and-white movie. It was inspiring in the way only something crude and peculiar can be inspiring.

And because I had gone to film school, I knew what commercial filmmaking was and knew I didn’t like it. In the nineties there was a stranglehold of formula on the movies. People would point to great movies like Chinatown as examples of how structure generates great works. But I always felt that these structures were derived from great works. The individual stories are organic, they come out of people’s heads. To say that the story of Jesus and the story of Moses are the same story is a horrible mistake. Are they both heroic? Yes. Do they both have inauspicious beginnings and unmarked graves? Yes. That does not make them the same story. But the studios were trying to consolidate films into a bulletproof system, they were trying to reverse engineer a hit—which, of course, is insane. In entertainment you’re a fool to try that.

One of the big things was, everybody hated “episodic structure,” as they used to call it.

INTERVIEWER

Meaning what?

WEINER

They were uncomfortable with a movie like The Godfather or a story like the Odyssey, where the only thing holding the events together is the characters. Now, there’s this monster, this obstacle, but there’s no real progression—the hero just keeps trying to get home. Sure, Michael Corleone starts off as a young war hero and ends up as the godfather, but the wedding takes up the first half hour of the movie. People liked to talk about “act breaks” and “rising action” leading to a climax, but what about Apocalypse Now? Someone’s on a journey, and sure, we’re heading toward a climax, but there are so many digressions. To me, those digressions are the story.

People would say to me, What’s holding this together? Or, How is this moment related to the opening scene, or the problem you set up on page 15? I don’t know. That’s where the character went. That’s the story. So many movies in the seventies are told this way, episodically, and they feel more like real life because you don’t see the story clicking. Movies like Days of Heaven—big movies that take time out to show the locusts. Do you need the crop duster in North by Northwest? No, but it is the most memorable part of the movie. It has no essential function in the story. Cary Grant has already been pursued. They’ve already tried to kill him. They’ve drugged him. They’ve poured booze down his throat. Remember how Cary Grant goes back to the house where the bad guys got him at the beginning of the movie and poured booze down his throat? He comes back the next day and says, This is where I was, they poured booze down my throat. Remember how he goes into the room where they poured the booze into him and they’ve changed the couch?

INTERVIEWER

Even now the hair on my neck is standing up.

WEINER

They’re so evil. They changed the couch! It’s preposterous, but delightful. Of course, anything that is epic is episodic in structure, whether it’s Lawrence of Arabia or The Godfather, which was already being treated like an art movie—the most successful commercial movie in the world treated like an art-house movie.

I liked episodic structure and I thought it worked. I still think it works. At the time I was especially interested in Billy Wilder and Fellini. I liked their grasp of tone, the way the movies are both funny and dark. You’re always scared and laughing and on the verge of tears somewhere in the middle of these movies. I could watch Sunset Boulevard and 8 1⁄2 over and over again. Everything you need to know about writing is in those two movies. How to tell a story, where to start the story, whose point of view it’s from, at what point you leave their point of view, when you should see a character in a scene by himself or herself—all this shit that drives you nuts when you’re trying to structure something. And then, the fact that there are no rules. That’s what both movies are saying—there are no rules, the audience is not as rigid as you think, and certainly not as rigid as the people paying for the movies to get made.

Anyway, once I got out of film school I said, They will not let me fly the plane. So I’m going to build my own airport. I shot my first movie, What Do You Do All Day?, in twelve days, in 1995. It cost twelve thousand dollars. Anybody can raise twelve thousand dollars—now it would probably be even cheaper, because there was no digital then.

Around that time, my friend Daisy von Scherler Mayer called me up and said, I sold this sitcom. Come in and sit at the table. We’re going to run through the script and you’ll just pitch jokes. The show was called Party Girl. And I drove onto the Warner Brothers lot and sat down at the table with all these professional writers and had no trouble talking and telling jokes. Not just because I’m an extrovert, but because I’d just made this movie and I knew it was funny. You’ve never heard of What Do You Do All Day? and it never went anywhere, but I still say it changed my life. Making that movie took me from being a frustrated, bitter person with no control over his life to a delusional, grandiose person with no control over his life. I was so high on the idea of having a job and writing jokes and going down to the stage and seeing the actors saying them and getting laughs. I couldn’t believe it.

INTERVIEWER

So none of the screenplays you’d been writing before that period were made?

WEINER

Well, remember the eighty-page picaresque thing I threw away? That turned out to be the basis for Mad Men.

INTERVIEWER

Really?

WEINER

Four years after I’d started working in TV, I wrote the pilot for Mad Men. Three years after that, AMC wanted to make it. They asked me, What’s the next episode about? So I went looking through my notes. Now, imagine this. At this point it’s 2004—I’m writing for The Sopranos—and I go back to look at my notes from 1999 ... but then I find this unfinished screenplay from 1995, and on the last page it says “Ossining, 1960.” Five years after I’d abandoned that other screenplay, I’d started writing it again without even knowing it. Don Draper was the adult version of the hero in the movie. And there were all of these things in the movie that became part of the show—Don’s past, his rural poverty, the story I was telling about the United States, about who these people were. And when I say “these people,” I mean people like Lee Iacocca and Sam Walton, even Bill Clinton to some degree. I realized that these people who ran the country were all from these very dark backgrounds, which they had hidden, and that the self-transforming American hero, the Jay Gatsby or the talented Mr. Ripley, still existed. I once worked at a job where there was a guy who said he went to Harvard. Someone finally said, You did not go to Harvard—that guy didn’t go to Harvard! And everyone was like, Who cares? That went into the show.

How could it not matter, when everyone was fighting so hard to get into Harvard and it was supposed to change your life? And you could just lie about it? Guess what—in America, we say, Good for him! Good for him, for figuring it out.

INTERVIEWER

I’m struck by the irony that Don Draper has become an icon of the 1960s Establishment when the character himself feels like such an outsider.

WEINER

Everyone loves the Horatio Alger version of life. What they don’t realize is that these transformations begin in shame, because poverty feels shameful. It shouldn’t, but everyone who’s experienced it confirms this. Sometimes people say, I didn’t know we were poor—Don Draper knows he’s poor, very much in the model of Iacocca or Walton, who came out of the Great Depression, out of really humble beginnings. Or like Conrad Hilton, on the show. These men don’t take no for an answer, they build these big businesses, these empires, but really it’s all based on failure, insecurity, and an identity modeled on some abstract ideal of white power. I’ve always said this is a show about becoming white. That’s the definition of success in America—becoming a WASP. A WASP male.

The driving question for the series is, Who are we? When we talk about “we,” who is that? In the pilot, Pete Campbell has this line, “Adding money and education doesn’t take the rude edge out of people.” Sophisticated anti-Semitism. I overheard that line when I was a schoolteacher. The person, of course, didn’t know they were in the presence of a Jew. I was a ghost. Certain male artists like to show that they’re feminists as a way to get girls. That’s always seemed pimpy to me. I sympathize with feminism the same way I identify with gay people and with people of color, because I know what it’s like to look over the side of the fence and then to climb over the fence and to feel like you don’t belong, or be reminded at the worst moment that you don’t belong.

Take Rachel Menken, the department-store heiress in the first season of Mad Men. She’s part of what I call the nose-job generation. She’s assimilated. She probably doesn’t observe the Sabbath or any of these other things that her parents did. That generation had a hard time because they were trying desperately to be buttoned-down and preppy and—this is my parent’s generation—white as could be. They were embarrassed by their parents. This is the story of America, this assimilation. Because guess what, this guy Don has the same problems. He’s hiding his identity, too. That’s why Rachel Menken understands Don, because they’re both trying desperately to be white American males.

Of all of them, Peggy is my favorite. I identify with her struggle. She is so earnest and self-righteous and talented and smart, but dumb about personal things. She thinks she’s living the life of “we.” But she’s not. And every time she turns a corner, someone says, “You’re not part of ‘we.’ ” “But you all said ‘we’ the other day.” “Yes, we meant, ‘we white men.’ ”

INTERVIEWER

It’s strange that you wrote the hour-long drama Mad Men just when you were succeeding as a half-hour sitcom writer.

WEINER

I didn’t see a future in situation comedy. There wasn’t room anymore for something like M*A*S*H*, where they would have sentimental moments and episodes that could sneak up on you and make you cry.

When I started out, there were few dramas on TV. They were out of style. There were four news magazines a week, and there was Who Wants to Marry a Multi-Millionaire?, or whatever, and the procedurals and the game shows. Reality TV hadn’t happened yet. Then, while I was doing it, situation comedy went from being the most lucrative and exciting place to be in television to disappearing. All the things that people hate about network TV were starting to fail economically, and still the networks were asking, How do we re-create Friends? By the time I wrote the Mad Menpilot, the syndication market had dried up. Survivor happened when I was writing on the sitcom Becker. Survivor, The Sopranos, and Lost all happened within a few years of each other. By then, drama had become really big. And then David Chase hired me for The Sopranos based on my script for Mad Men.

INTERVIEWER

You worked on three seasons of The Sopranos before you went back to your Mad Men pilot. Did that change your conception of your show?

WEINER

Mad Men would have been some sort of crisp, soapy version of The West Wing if not for The Sopranos. Peggy would have been a climber. All the things that people thought were going to happen would have happened. Even though the pilot itself has a dark, strange quality, I didn’t know that that was what was good about it. I just wanted an excuse to exorcise my demons, to write a story about somebody who’s thirty-five years old, who has everything, and who is miserable.

The important thing, for me, was hearing the way David Chase indulged the subconscious. I learned not to question its communicative power. When you see somebody walking down a dark hallway, you know that they’re scared. We don’t have to explain that it’s scary. Why is this person walking down a dark hallway when he’s on his way to his kids’ school? Because he’s scared about someone telling him something bad about his kids. He’s worried about hearing something that will reflect badly on the way he’s raised his kids, which goes back to his own childhood. All that explanatory stuff, we never even talked about it. And I try not to talk about it here. Why did that happen? Why do you think? You can’t cheat and tell people what’s going on, because then they won’t enjoy it, even if they say they want it that way.

You know how sometimes I give you a note that says, Why don’t you do X? and you say, That’s the thing I wanted to do? That’s what I learned at The Sopranos. That’s the note I try to give to everyone who writes here. Take the risk of doing the extreme thing, the embarrassing thing, the thing that’s in your subconscious. Before The Sopranos, when someone said, Make it deeper, I didn’t know what they meant. Or really, I knew in my gut—but I also knew that it was the one thing that crossed my mind that I wasn’t going to do. To have Peggy come into Don’s office after he’s had the baby and ask for a raise and be rejected, and look at the baby presents, so we know she’s thinking about her own baby that she gave away, and then to have her tell Don, “You have everything and so much of it.” There is something embarrassing about that. A scene that was really just about her getting turned down for a raise became a scene about her whole life. That was the sort of thing I learned from working with David Chase.

Another thing that happened when I began writing on The Sopranos was I noticed that people were always telling me anecdotes. They would throw out a line of dialogue they’d heard somebody say or that someone had said to them—and that was the story. I did not know how important that shit was. There’s an episode where Beansie and Paulie are reminiscing and Tony dismissively says, “‘Remember when’ is the lowest form of conversation.” And it’s devastating. David Chase had witnessed that actual statement. Now I have a ton of stuff like that I’ve saved, things people have said to me that are concise and devastating and sum up some moment in their lives. When I’m talking to some woman on an airplane, and she says, I like being bad and going home and being good, that is very useful.

INTERVIEWER

Did you cultivate your memory for those moments?

WEINER

I always had that kind of memory, I just didn’t know there was any value in it. One time we were doing a research call at The Sopranos. It was a two-hour conference call with a guy talking about emergency medicine. At the end of it, the writer’s assistant, who was taking notes, had a bunch of medical facts, but all of us writers had written down the same two ideas. All of us. Just those same two ideas in two hours.

INTERVIEWER

What were they?

WEINER

He said that everyone with insurance is a VIP. And he used the expression “wallet biopsy.” I think they’re self-explanatory. But that’s what being a writer is. I don’t know what makes something a story, but I know one when I hear it. Mad Men was a show I wanted to see. I really wanted to tell a story about that period. I thought it was sexy. I wanted to live in it a little bit, and I wanted to remind people that they have a misconception about the past, any past.

INTERVIEWER

What sort of misconception?

WEINER

You know in Reds, when they’re interviewing the witnesses, and Henry Miller says, People today think they invented fucking? That kind of thing. The old people you’re looking at, they may have been more carnal than we are—drunker, less responsible, more violent. So many of those film noirs are about how soldiers reintegrate themselves into society. The private detective is haunted by the shadow of having killed people in the war. Don’t even get me started on The Best Years of Our Lives. The move to the suburbs, the privacy, the conservatism of the fifties—that’s all being driven by guys who, for two years, had not gone to the bathroom in privacy. I’m not the first TV person to be puzzled and fascinated by the fifties. The two biggest shows of the seventies are M*A*S*H* and Happy Days. Obviously that moment is some sort of touchstone for culture. Is Hawkeye not related to Don Draper? He’s an alcoholic Boy Scout who behaves badly all the time. I just wanted to go back and look again.

So I spent a lot of money buying videotapes to watch movies from the period. I hired somebody to do research for me. Then, because I was working all day, I stumbled on the idea of dictating. I found that I was constantly thinking of dialogue and couldn’t write it down fast enough. I heard that Billy Wilder did it, too. He walked around with a riding crop while his writing partners would type. Joseph Conrad did it. So did Henry James. I’ve since kept track because some of my writer friends think it’s cheating. And it’s hard to believe you can be as eloquent as your characters, but you can be if you have the topic and you’re channeling them. Then you get to fix it afterward. It’s way better than sitting there and procrastinating while you write a new piece of description and try to perfect the sentence.

INTERVIEWER

Will you describe how you write the show now?

WEINER

At the beginning of the season I dictate a lot of notes about the stories I’m interested in. Then for each episode, we start with a group-written story, an outline. When I read the outline, I rarely get a sense of what the story is. It has to be told to me. Then I go into a room with an assistant and I dictate the scenes, the entire script, page by page.

INTERVIEWER

I’ve seen you do whole scenes without pausing.

WEINER

I can see it in my head. And I don’t look at the dictation. I try and keep it in my head. That’s why the fatigue gets so bad. And why it’s crucial to have the right assistant. It requires the chemistry, it requires them reading my mind a little bit so they know when I’m moving back to an earlier person who’s talking or which person is saying it—because sometimes I stop identifying the speakers. After a while I’ll talk in different voices. I don’t even know what I’m doing when I walk around making up those scenes. But I wrote my play the same way, and my second movie, You Are Here. If you compose that way, it means the dialogue can all be said. John Slattery and I had an argument about something in the second episode, where there was a bit of a tongue twister. He was supposed to say, “Coop is going to want a carbon with your hand-picked team for Nixon on it. And I warn you right now, it includes Pete Campbell.” He said it was impossible to say, but I knew it could be said because I’d said it. I rattled it right off to him. Then he smiled and performed it and everything else I wrote for him. I started writing more tongue twisters for John. My favorite was, “He knows what that nut means to Utz and what Utz means to us.”

INTERVIEWER

What’s the main difference between writing for someone else’s show and writing for your own?

WEINER

It’s one thing to hear Tony Soprano say your dialogue. That is ridiculous. That’s a totally surreal experience. It’s another thing to create an entire environment and walk onto the set of this fake office from a different era and see Peggy in her ponytail and bangs and Joan looking like Joan. It was better than I could have imagined. I am a controlling person. I’m at odds with the world, and like most people I don’t have any control over what’s going to happen—I only have wishes and dreams. But to be in this environment where you actually control how things are going to work out, and who’s going to win, and what they’re going to learn, and who kisses who...

INTERVIEWER

And then you have the challenge of doing episode after episode, season after season. You once said to me, “I’ve written hundreds and hundreds of scenes with two people in them. You have to know what kind of scene it is.” What did you mean?

WEINER

When I was just starting out, a writer explained to me the meat and potatoes of situation comedy. For instance, a scene where one guy thinks he’s talking about one thing and the other guy thinks they’re talking about something else sounds like a big cliché. But guess what? That’s comedy. The question is, Can you do it well? I’ve personally written some of the most clichéd comedy scenes on Mad Men.

INTERVIEWER

Like what?

WEINER

Like the first season, when Pete goes to return that chip-and-dip at the store. He tries to hit on the officious clerk and she rejects him, then that other guy comes in and hits on her, and she loves it. That could be a scene on any situation comedy in the world, right down to waiting in line. To me, waiting in line is one of the funniest things in the world.

Or think of the premiere of season 3 of Mad Men, where Ken and Pete both get promoted to head of accounts. I put them in the elevator so that each of them can magnanimously congratulate the loser. I wanted to see how long we could sustain the dramatic irony. When I got to The Sopranos, I realized that I hated it when one character would just help another character through the scene. “I got something to tell you.” “Well, uh, what have you got to tell me?” “It’s kind of hard to say, Ron.” “Well, I’m listening.” I don’t know about everybody else, but I find that whenever I really want to say something, there’s a huge obstacle. Except in this interview.

INTERVIEWER

What about all the scenes you do with four or five or six people? Or more? You have all those status meetings, all those partners’ meetings.

WEINER

Those are tough, and the hardest part of my job is dealing with exposition. So populating those meetings with a lot of characters gives you a chance to bury it. But I find that giving each of the characters their own goal in the scene helps them talk in my head. And that’s usually the place for the most drama. Characters go in the story from having a private problem to having a public problem, even if they just lie about it. Which I guess is some convoluted definition of dramatic irony. Take the meeting in the episode “Hands and Knees.” Don has almost been caught by the government. Pete has to turn down North American Aviation and lie for Don or Don will go to jail. Pete also knows that Don is sleeping with Dr. Faye. Lane has been beaten by his father with a cane. Roger has lost their biggest account and sent Joan alone to get an abortion. Joan has not gotten an abortion. And Cooper is just there—he doesn’t know anything. So there are six secrets in the room, and when I was writing that scene, the hardest part was forcing the characters to talk about anything. Luckily we had the structure of another dumb meeting. The audience has so much information, and the characters don’t have any.

In addition to writing, I happen to go to a lot of meetings, and I find them hilarious—the rules of order, old business, new business, it’s not just from the Marx Brothers. But you know, every scene is comic to me.

INTERVIEWER

The first time I walked onto the set, I saw a stack of mail sitting on a secretary’s desk. Every single letter was addressed to a character on the show, from a client they have in the show, stamped and postmarked 1965. How do you make it so real, so detailed?

WEINER

Well, I have a bunch of people who delight in re-creating that physical reality. But as for the writing, I don’t make any special effort to write “period.” I try to be realistic, but the characters are smarter and more eloquent than regular people. It’s part of why I have them talk so slowly—or, really, listen so much—because I didn’t want the dialogue to be repetitive and snappy and sound phony. I wanted there to be real things like people saying, What? when they didn’t understand something, and coughing—things like that. The director of the pilot wanted it to look “1950s.” He actually wanted to do it in black and white. Then he wanted it to be spoken faster. But if you speak that fast, you’ll have to keep repeating the information. I did not want to do that. I didn’t even have the characters address each other by name because it felt phony. And after two seasons of the show, Roger Sterling was known as “the white-haired guy.”

One thing we did agree on was that we were looking for a commercial cinematographic style. We were very interested in the ceilings, in the low angles. The cinematographer, director, production designer, and I all shared a point of reference in North by Northwest, which is a story about an advertising man. Even though it’s very stylized and it’s a thriller and it’s Cary Grant, it was made in 1958, a couple years before the pilot took place, and we were influenced photographically by that.

A lot of these things were decided, like so many good decisions, by financial necessity. In the pilot, I wrote an overhead shot of men coming into the Sterling Cooper building, because I knew that was the cheapest angle to make period. Looking straight down, you have the side of the building—and the buildings hadn’t aged much—and you have the tops of people’s hats, which might not require full costumes, and some cars, and you get the sensation of period. When we did the flashbacks, our first glimpse of Dick Whitman’s childhood, I remembered how, in Death of a Salesman, they had staged the flashbacks in the regular sets, and I thought, Why don’t we just put this in Don’s dining room? We’ll stage it in a sort of theatrical limbo.

INTERVIEWER

Often you’ll say, That just doesn’t sound period. And someone will go research it and discover that you’re right. How are you so connected to a period that you experienced only as a small child?

WEINER

I cut out any slang that I didn’t know organically. Even as a kid, you hear certain expressions and then you stop hearing them. I had heard people say, “Make a hash of it.” They don’t say it anymore. Also, I intuitively cast actors who had a certain formality to them. It turned out they were almost all from the Midwest. They have old-fashioned manners.

But you know, these questions of verisimilitude have a lot to do with the framing and the editing. The original director, Alan Taylor, is a huge fan of Wong Kar-wai, and so am I. What Wong Kar-wai does is let scenes develop in front of your eyes. In a conversation, the point-of-view shots will include parts of people’s shoulders and heads. He has a shot design that appreciates the space, puts the people in the space, puts the audience in the space. Music and mise-en-sceÌ€ne are part of it, but the editorial style was most important of all. We don’t use overlapping dialogue. Usually, when you cut a scene between two people talking, you keep cutting to the person who’s listening. It allows you to use material from different performances. It’s also supposed to keep the audience in the scene. But I felt that, since these actors were so good and they pulled off these transitions in front of our eyes, why cut away? So I’d stay with their performance. They would do the entire speech, and then there would be a pause on one side or the other for the other character to respond. That, to me, magically creates a first-person experience, though none of this was intellectual. That’s kind of the way I experience the world. It feels normal to me.

INTERVIEWER

Once you had directed the show, did it change the way you wrote for it?

WEINER

I try now to write every script as if I would have to direct it. I do not leave vagaries of position or gesture. I do not have vagaries about the set. I try to specify who the characters are. It’s a blueprint. I will always give visual clues. I’m not talking about the props only, but a visual motif. People sitting or standing. I will write those things in. Where they are in the room, I write that in the script. You don’t have to do that, and I used to not write that. Betty has a seat in the kitchen. That’s one of my things. Your mom has a place where she sits, if she sits. Directing has made me not write impossible crap like somebody “plops into a chair” or “turns beet red” or “rolls their eyes.” That means that there’s no cheating in the stage directions—“He’s never felt this way before.” “He reminds her of her father.” You can’t write how someone feels, you have to show it in the scene.

The miracle of writing Jon Hamm sitting on the steps at the end of the first season and, as the camera pulled away, seeing his face physically change in a way that . . . It was exhilarating. So much emotion. I’m too embarrassed a person to ever do that job. I don’t know how actors do it.

INTERVIEWER

On the level of the scene, you’re always searching for a surprising way into a moment, or a way that a moment can turn into something you don’t expect.

WEINER

You know that scene in Rebecca when Joan Fontaine is exploring the room where everything is monogrammed “Rebecca,” and George Sanders just appears in the window? It’s a ground-floor room, and he’s sitting in the window. He just slides his leg over the sash and walks into the room. You’re like, That guy could’ve come in through the front door, but I know so much about him because he came in the window. We all love moments like that.

How many people say at the beginning of a story that the character is bored, and they start telling all these things about how he’s bored—he does this, and he goes to his mom’s house, and she’s talking, and he’s staring off, and then you go to his job and it’s the same every day. But actually, it only takes one shot to explain to the audience that the character is bored, and I mean bored with everything in their whole life. They did it on The Sopranos. When Tony was supposed to be laying low, they had a shot of him on the escalator in the mall.

The story is not, We built this great bridge, let’s watch people go across the bridge. The story is, The bridge is out, the bridge is broken, I’m going to try to build one. And then it gets blown up right before I finish it.

INTERVIEWER

Do you read any of the commentary on Mad Men?

WEINER

I stay off the Internet.

INTERVIEWER

Now you do.

WEINER

Yeah, I couldn’t take it. It’s like being on trial for a crime you didn’t commit and having to listen to the testimony with a gag in your mouth. I did learn, though, that what I intended something to mean is not always what it means. That’s okay. It’s actually kind of amazing.

INTERVIEWER

You directed a movie last year. You write plays and poetry. How do you feel about being labeled a “TV writer”?

WEINER

I don’t even understand what that is. That’s going to be a big joke to everyone in ten years because everyone’s going to watch things on the same screen. The movie industry is clinging to its perceived role as the dominant form in the culture, but you know, I was just reading an interview with Stanley Kubrick from the late fifties where he talks about how movies, if they want to have any impact, have to start being more like television, or better. He was talking about the artists in TV at that time—among them, Woody Allen, Larry Gelbart, Neil Simon, Rod Serling, Paddy Chayefsky, Reginald Rose—and the directors who went with them—John Frankenheimer, Sidney Lumet, Delbert Mann. In the next ten years, they all went into the movies. The movies took that business away. But really, the fifties was the golden age of television.

INTERVIEWER

What made the fifties a golden age?

WEINER

Social consciousness and a respect for the audience. This was the same moment as the blacklist, so there was so much subversion. There’s poetry, there’s great speeches, there’s incredible eloquence in those early made-for-TV dramas, but they are derived from real life. There are actors in them who are unattractive. There are recognizable milieus, like automats. Before the 1950s, something like 12 Angry Men wouldn’t have seemed like a promising subject for a Hollywood movie. It had to be a ninety-minute TV show first. But that’s how it goes. Americans are subversive and they depend on their entertainment to express it. So thankfully, all subversive entertainment eventually succeeds.

INTERVIEWER

Do you ever worry about losing your touch?

WEINER

In show business, careers are always seen in terms of hot or cold. Hot and cold doesn’t interest me. That’s dependent on the world. Are you in style or are you not in style? My kids have no Faulkner on their reading list. Thomas Wolfe—completely gone. You never know what’s going to go and what will stay. But on the creative side, you’re either wet or dry. That’s what a writer asks himself. Am I going to dry up? The repetition is the hardest part. You know—you deal with it every day. You witness me trying not to get caught with my pants down doing something I’ve already done. Remember Allan Burns, from my high school graduation? Well, I had lunch with him after my freshman year of college. I asked him, How do you write? He said, My rule is quit when I’m hot. When I’m in the middle of something and it’s good and I know where it’s going to go, that’s where I stop, so when I get back tomorrow I can get back on it. Underneath this was obviously the fear that he could wake up tomorrow and not be able to write. That terrifies me, too.

INTERVIEWER

Do you have other superstitions about your work?

WEINER

I have a pen I use to check off numbers on the outline. I’ve been using that pen since Becker. I will borrow other people’s superstitions. But I’m most superstitious about hubris. I am terrified about having things taken away from me because I finally relax. When I wrote the pilot of Mad Men, I was saying, I’m already successful, why am I not happy? Now it’s become, You didn’t even know what success was. What if your dreams came true?

#Don Draper #Jon Hamm #Matthew Weiner #Mad Men #this is loooooong #hopefully some of you are into this #also if some of you versed in law tell me if this is legal? i give credit so i should be good right #right??

[anderalebake]

robe jasmine disney

Utiliser sensuels de boisées et Soldes Disney Captain America florales les familles peuvent avoir un effet durable sur le image de princesse disney. ROBB Report souvent listorials du meilleur curated des meilleurs d'offrir à ses lecteurs une connaissance de l'initié qui est à la fois Trusted et révéré. d'étendre l'esprit aventurier de l'Going the Distance effort, disney et T Marque Studio comprenait également l'ancien surfeur professionnel Luke Stedman qui préféreraient beaucoup surfer sur la plage de Manly Beach dans le Nord de l'Australie de Bondi Beach près de Sydney. La désinformation est l’un des plus grands défauts de la vente de vente privee bracelet en ligne, et vous ne voulez pas être perçu comme un escroc. Tout le monde aimerait posséder une fiabilité du offre vente privée disneyland ou un portemonnaie disney, principalement en raison de sa fin de tendance, chic et un d’une conception de type. 'Ils sont le partage d'idées via leur téléphone de shopping, pendant qu'ils regardent leur téléviseur à écran plat avec chaînes pendant qu'ils font des achats sur leur iPad et notre magalog peut être sur leur table à café fournissant inspiration. nicole akong originaire de la chine, qui a étudié l’art aux étatsunis. Bien sûr, il y a des gens qui ont les trois roues brouette concept, Soldes Boutique Disney qui est, ils se sentent quelque chose est faux que lorsque tout le Disney Jouet Musical à Tirer Minnie Mouse Pour Bébé Haute Qualité est bon, mais là encore, appelez le centre des crimes ne sont pas les seuls centres d’appel chose taches et des centres de développement icibas dans charmer. chateau de princesse disney femme créés avec des motards à pensées va être plus audacieux, plus sexy et plus finque dans le passé avant, sous l’influence de cuir. disney campagne trouvés dans la couverture intérieure avant. Ce faisant, il met l'accent sur la la 'dualité de temps'et le contraste entre les différents endroits. Les produits qui les aident à se sentir plus confiants et attrayante. également en vedette est alpiniste Joe Kinder qui a mis à l'échelle de la Norvège Flatanger Hanshelleren grotte dans laquelle a un headwall de 160 pieds. disney n'a pas été en mesure de commenter directement. Si ces types sont disponibles ici, beige ou beige va assez efficacement avec à peu près n’importe quelle tenue. Quels sont-ils l'intention d'acheter en tant que Mémorial Disney Star Wars leurs dons pour leurs amis et leur famille.lancement d’un nouveau walt disney sejour, montres, accessoires, une gamme complète de nouveaux automne et l’hiver cette année, avec un mélange des tendances de la mode britannique patrimoine et cet hiver une bonne offre ses meilleurs vœux. Diamant rose magnifique coupé en utilisant des techniques traditionnelles, ce style au début de l’interprétation parfaite de la naissance de la coupe de pétales de rose forment alléchante. www.boutique-disney.com/papeterie

#disney

[wiremagazine]

IN MEMORIAM: HENRIETTA ROBINSON. A LIFE WELL LIVED

By Rafa Carvajal Photos provided by Henrietta’s friends

It is with great sadness that I write this In Memoriam about Henrietta Robinson, a beloved member of our LGBTQ community who lived in South Beach for over 60 years and passed away last week from COVID-19. I was in my office at Q Link Wireless when I heard the news about Henrietta’s passing, and I could not help but to start crying. Once I was able to compose myself, my thoughts shifted to that day I sat next to Henrietta for three hours at the "Cheers" bar downstairs at TWIST and listened attentively, over cocktails, to her wonderful and fascinating stories about her life and the history of South Beach. I will treasure those memories for the rest of my life.

As soon as she turned 18, Henrietta ran away from a very unstable family life in Boston and came to South Beach. Henrietta knew she was gay as a kid and was ostracized by her family and friends, but once she left, Henrietta never looked back. It actually took her family a full year to realize Henrietta was living in South Beach.

What better way to honor Henrietta’s memory and celebrate her life than to let some people who knew her well tell us why she was such a special person – in their own words.

Rafa Carvajal: What is your fondest memory of Henrietta? Peter Morales: My fondest memory of Henrietta was meeting her in the early-mid ‘90s at the Warsaw Ballroom where she would usually stand on the second floor overlooking the people dancing on the dance floor and enjoying life. She would always say hello to me when I walked by, with a huge smile, and always was full of compliments, and had a positive outlook on life about everything and everyone. She was such a happy and content person. Nathan Smith: My fondest memory of Henrietta would have to be the times she spent at my bar every Saturday and Sunday night. She would always come early, always have the same seat, and she had a special cup. I bought her many throughout the years, but it was always so important to me that she had a different glass than everyone else. She deserved to feel special and honored. She was an icon and having her sit at my bar was an honor. David Johnson: One of my fondest memories of Henrietta is how she made her birthday a true celebration of life. It felt as though we were all part of her family there to share in the fabulous festivities! Every year, she made us all feel connected to her life by bringing us together. Mario Trejo: My fondest memory of Henrietta is from back in 2009. She and Don Chung came over to my house and cooked a special dinner for me and my then boyfriend at the time. She had been asking me to come over and cook for us, when it finally happened Henrietta was so excited and happy to do it. She made us a lobster and pasta dish that was out of this world. I felt honored that she wanted to come over and do that for us. The true essence of a giving heart is the joy they receive from giving and seeing the reaction and appreciation on that person’s face. That was her reward, her joy and her love.

RC: What made Henrietta such a special person? Joel Stedman: Simply her being her. Henrietta was a constant in many of our lives in nightlife. We attended almost every White Party together, she never missed a TWIST anniversary and every year was a feature in our float presentation for Miami Beach Gay Pride. I enjoyed her immensely. Her smile, her laugh, what amazing stories she would tell. She was that one person you could always walk up to and had nothing but sweet things to say. It is the end of an era, losing both her and Richard within the same year. When it is safe for all of us to get together again, we will have a mad celebration in her honor. Somebody will have to bring the cookies. PM: Henrietta always glowed and shined wherever you saw her. She was a beam of light with a bright aura. Everyone always wanted to say hello to Henrietta, speak with her, and, of course, have their picture taken with her! NS: What made Henrietta so special is that she always lived her truth. Henrietta did what made her happy and gave no apologies for who she was. She was and always will be an example for us all to be our true authentic selves. DJ: Her unique style set her apart from all the rest! Henrietta always had a warm and loving smile to share with everyone. Her iconic personality lit up any room and made everyone feel happy and at ease. MT: Henrietta loved to give. She was a true giver and she did it better than anyone. She gave from her heart whether it was your favorite dish, favorite dessert, or a Christmas gift wrapped in an envelope. This woman prided herself not only on wearing the best Bob Mackie ensembles and finest diamond, gold and platinum jewelry (all custom made), but also in her giving – and I can’t stress that enough! I remember for Christmas she would give everyone $100 bill in an envelope, and she went to all the gay clubs in South Beach. She made it a point to go to TWIST, Palace, Score and Mova, and give everyone an envelope. You could see the joy on her face as she gave it to you. That was her reward, to see you get excited and happy made her happy. On that she was consistent until the very end. The last thing I remember her making for Nathan, myself, JD, Michael, and many others at TWIST before it closed from the coronavirus pandemic, was brownies (not the fun brownies lol). They were so delicious! We ate them with a fresh cup of coffee from Nathan’s coffee maker. She always cooked or baked weekly and had that, “I can’t wait to give it to them attitude.” She would walk up the stairs in bar 4 with her big Saks Fifth Avenue bag filled with all the dishes she was going to hand out that night, and she did that almost every Saturday without fail! She lived to give. It was who she was.

RC: What else would you like to share with Wire Magazine readers about Henrietta? PM: Henrietta was always so thoughtful throughout our years of friendship, especially during the holiday seasons with her beyond amazing and delicious lasagnas, baked goods and pies. Several years ago she gifted me a 21-piece "Temp-tations" Ovenware Kitchen Bake Set for cooking and serving since she knew I loved to cook, and that I always cooked for my entire family during the holiday seasons. I cherish and love this cookset so much and think of her every time I use it.

I will miss seeing Henrietta and speaking with her, but I will never forget Henrietta, and especially how she made me feel every time we saw each other. NS: She loved you all. Nothing made Henrietta happier than when people would approach her for a picture, and she loved hearing your life stories and telling you hers. She loved helping anyone and everyone out, whether it was with a plate of her food, advice or guidance. She wanted the best for everyone. I know she would have wanted all of you to take away from her passing to be safe and stay at home until this virus is under control. Henrietta would also have wanted you to always love each other, but love yourself first and be yourself proudly. RIP Henrietta. I will always love you and your place at the bar will always be there. Sending everyone lots of love and good energy. Xoxo. DJ: Henrietta loved to check up on me. I must admit I will truly miss the call I received once a week when Henrietta called just to say hello. MT: Henrietta touched my heartstrings even deeper than her coming over to my place to cook, bringing us delicious desserts and dishes. It was when my 21-year-old nephew Andrew came from California to stay with me in 2010. He and Henrietta had this incredible instant connection/bond when they met at TWIST, and they would go out to different places like Palace, Score and, of course, TWIST. Andrew would go get Henrietta and take her to whatever bar she was in the mood for that day, and they would have fun. My nephew even convinced her to go to Wet Willie‘s, of all places, and that’s when Henrietta back in the day would drink her rum and Coke with lemon. Andrew always had a blast with her and he would say “OMG uncle Mario, Henrietta is too funny,” with her quick and amazing stories. As you all know, she had great stories to tell. So for all of her great qualities and attributes, her taking my nephew under her wing and vice versa, I will always love her mostly for that!

I also want to share some excerpts from the Wire Magazine interview of Henrietta by Thomas Barker from June 2011, when Henrietta was celebrating her 50 year anniversary in South Beach. Visit wiremag.com to read the extended version of Henrietta’s In Memoriam and the full interview from 2011.

At age 19 Henrietta saw her first drag show. At age 22, she dressed up as a woman for the very first time (other than when she was 10 or 11 and dressed up in her sisters' clothes). She won Miss Florida in 1969 singing, not lip-synching, "On a Clear Day You Can See Forever." Then, after her favorite uncle died in the early '80s, she never wore men's clothes again! Her outfit became permanent.

"When my uncle passed away, that's when I said that's it," Henrietta recounted. "I started living that way from then on – it was permanent drag from then on! I was gay, of course, and wasn't ever interested in a sex change or anything." And nothing Henrietta wears when she dresses like a woman is fake. Her chinchilla outfit, lace or silk gowns, large-carat diamond rings, gold bracelets – they're all real, just as real as Henrietta.

Thomas Barker: When and how did you arrive in Miami Beach, Henrietta? Henrietta Robinson: I came to Miami Beach in 1958. My uncle, my mother's brother, had a restaurant here. I was 18-years-old and never was on my own in my life until then. I lived a pretty sheltered life in Boston. My mother died when I was born. I was raised by my grandmother, my father's mother. I couldn't go out and play with other kids and was kept in the house all the time.

TB: How old were you back then? Did you realize you were gay at an early age? HR: Oh, I was 10 or 11-years-old. I knew I was gay since I loved playing with my sisters' dolls! I loved dressing up. When my sisters dressed me up, my grandmother would go through the roof! My sisters were a lot older, they were 18 and 20-years-old. I was the baby in the family.

TB: Did you ever imagine the Beach would come full circle to where it is today? HR: I never thought in my time the gay community would be so free to be who they are and not be hassled by the police. In my day, if you walked down the street and if the police thought you were gay, they had the right to beat you up. They always said you looked at them the wrong way or you touched them. They had no hesitation in throwing you in jail. Now, I love it! Gay life has always flourished here – whether it was underground or above ground; or whether it was 23rd Street or 12th Street. Gays were everywhere and in every profession. Today, I feel so free and it's such a pleasure! A lot of these young gay kids don't know what somebody like me has gone through. And they don't have too many people to learn about the history since all the old-timers are gone.

This was originally published in Wire Magazine Digital Issue 2.2020

#wire magazine #wiremag.com #wire #miami #miami beach #south beach #sobe #fort lauderdale #wynwood #wilton manors #gay #lgbt #glbt #henrietta robinson #in memoriam

[tetha1950]

Libertad para quitar la máscara...

El Señor es el Espíritu; y donde está el Espíritu del Señor, allí hay libertad. Por tanto, nosotros todos, mirando con el rostro descubierto y reflejando como en un espejo la gloria del Señor, somos transformados de gloria en gloria en su misma imagen, por la acción del Espíritu del Señor. 2 Corintios 3:17-18

El apóstol recuerda de inmediato a los corintios que el Señor está en sus corazones, en sus espíritus humanos. Su esperanza de libertad se basa en el importante hecho de que Aquel que está en el interior de ellos es Dios mismo. Pablo le identifica: “El Señor es el Espíritu; y donde está el Espíritu del Señor, allí hay libertad”.

Libertad implica las cosas hechas abiertamente, con atrevimiento, sin tener nada que ocultar. Aquellos que son libres son los que no tienen una reputación que defender, ninguna imagen tras la cual ocultarse, nada que conservar en sí mismos, por lo que pueden ser ellos mismos. Por todas partes hoy hay personas que anhelan tener esta clase de libertad. Las personas quieren ser “ellas mismas”. “Tengo que ser yo”, oímos decir, y no hay nada de malo en esto. Lo único que está mal es cómo lo hacemos. En el mundo se nos enseña que la manera de poder ser “yo mismo” es pensando en “mi” ventaja, “mis” esfuerzos, defendiendo y exigiéndolos.

La Palabra de Dios nos enseña que es otro proceso totalmente diferente. Ser uno mismo y tener libertad no significa negar el potencial de todo el mal que es posible en su corazón y en su vida, porque tiene usted otra base sobre la cual recibe la aceptación y la aprobación de Dios. Su aceptación y Su aprobación son dones que Él le concede a usted. La fe que continuamente nos da hace que aceptemos renovadamente el don de la justicia, el cual nos hace estar ya agradando a Dios y, sobre esta base, le sirve usted con un corazón agradecido por lo que ya tiene usted. No tiene que ganarse Su favor, y su comportamiento no va a afectarlo. Cuando empieza usted a mirar a Aquel que está haciendo esto en su vida, el Señor Jesús, y le contempla, habiendo eliminado todos sus velos, de modo que no tema examinar su propia capacidad para el mal, entonces sucede algo maravilloso. Sin saber siquiera que lo está haciendo, sencillamente gozándose en lo que tiene usted y sirviendo al Señor que se lo dio, descubrirá usted y otras personas también, que se está convirtiendo usted en una persona amorosa, y el amor es el cumplimiento de la Ley; es la exigencia misma que Dios hizo mediante la Ley que usted tanto se esforzó en cumplir por medio de sus propios esfuerzos. Se cumplirá sin que usted se dé cuenta cuando empiece usted a amar por la gracia y el perdón de Dios.

Es un proceso de crecimiento. No sucede por medio de una gran transformación de repente cuando es usted santificado, lleno del Espíritu o bautizado. Sucede cuando mantiene su vista fija en la gloria del Señor y no en el rostro de Moisés, no por medio de sus propios esfuerzos, sino por lo que Él ya le ha dado. Cuando lo hace usted, descubre de repente que el Espíritu de Dios ha estado obrando haciendo cambios graduales. Se está convirtiendo usted en una persona amorosa, con la cual resulta más fácil vivir, más atractiva, más digna de afecto. Su vida se está volviendo más profunda al ir perdiendo su superficialidad, y es usted más comprensivo respecto a lo que sucede. Esa es la obra del Espíritu. Fíjese en lo que dice: “Esto procede del Señor, que es el Espíritu”. No es usted el que lo consigue, es Él.

Señor, gracias por Tu promesa de que al mirarte a Ti me vuelvo como Tú.

Aplicación a la vida:

 ¿Somos realmente libres para admitir y examinar nuestra naturaleza y capacidad para el mal? ¿Confiamos equivocadamente en nuestro propio esfuerzo para vencerlo? ¿De qué manera nos cambia la libertad en Cristo?

(Ray Stedman).

#Ray Stedman #mantener la vista fija en la Gloria de Dios #donde está Cristo hay Libertad

[massivelyburningstrawberry]

Old-time wrestling...

From the top....  ‘Turbulent’ Alan Garfield stuns American ballet boy Ricki Starr with a hard right hand, and grabs a submission with a Boston Crab.   Garfield works on Jim Moser’s left leg, and tries to sleep Bob Kirkwood, while Spencer Churchill punishes Joe Keegan with an armlock. Joe Zaranoff gives Docker Don Stedman a Boston Crab, while Don works on Joe’s left leg.  Johnny Yearsley gives the bald ‘Polish Eagle’ Johnny Czeslaw a taste of his powerful bearhug, and Tony Charles gives Bob Kirkwood’s left leg a working-over. 

[cksmart-world]

The Completely Unnecessary News Analysis

by Christopher Smart

April 23, 2019

HOW TO SELL A MASSACRE

& A CURE FOR THE MUELLER HANGOVER

Hey gun lovers, it's the 20th anniversary of the Columbine massacre and the U.S. has done practically nothing to strengthen gun laws. God bless the 2nd Amendment. The mass murders continue here but not in Australia, where semiautomatic weapons were banned in 1996 after a shooting at Port Arthur left 35 dead. There haven't been any mass murders there since. Clearly the Aussies have given up their freedom. The news agency Al Jazeera infiltrated the National Rifle Association recently to see how the gun-rights lobby keeps similar laws from being passed in the U.S. Here's the NRA playbook after mass shootings: First, say nothing. Next, smear gun-control groups with statements such as: “How dare you stand on the graves of those children to put forward your political agenda.” Then get reporters to cover tragic stories where victims could have been saved if they had a gun. Ghost-write op-ed columns for pro gun-rights political and law enforcement officials. Talk up gang violence. Produce videos for social media that show how to protect yourself against rapists and robbers. Sweet. All week long, we've listened to Columbine survivors who explain their lives are still messed up from the trauma. Well, the NRA has a message for them: Get a gun. Be happy. Be a real American.

New Savior Gets Redemption

Easter is all about redemption. We don't think about it all that much here in Zion because in Mormon-dominated Utah, Easter is an afterthought, mostly reserved for bunnies and eggs. How Easter came to be symbolized by bunnies and eggs, we aren't sure. It's kinda like Santa representing the Virgin Birth. (What's in you're stocking?) But anyway, folks formerly called Mormons have always been focused more on Joseph Smith and Brigham Young than on Jesus of Nazareth. But now we have a new savior: Tiger Woods. It's true, just take a look at the front page blow-out in Sunday's LDS Church-owned Deseret News: “The Joys of Redemption & Forgiveness” reads the giant headline over the billionaire golfer after his win at the Master's Tournament. A double truck inside (that's a full two-page spread for you virgins) is dedicated to the Second Coming of Tiger Woods. “Hope Is Real” reads the subhead. And when you think about it, Tiger and Jesus do have a lot in common: designer clothing, a personal logo, a giant yacht, an airplane and a bunch of girlfriends. And they both preach love and forgiveness. In the name of Tiger Woods, amen.

The Mueller Hangover

If your feeling like a sophomore who drank way too much cherry vodka last night and are wondering what the hell happened, you're not alone. Yep, you've got the Mueller hangover. The Republicans say the special counsel's report is total vindication. The Democrats say it's a complete indictment. It's such a shit show that Wilson and the band are loading up the van for Acapulco. But the staff here at Smart Bomb has a remedy, of sorts. And like the “hair of the dog,” it could give you a little relief. Here goes: The Russians hacked Hillary Clinton and the DNC. They gave the info to Wikileaks, which coordinated with the Trump campaign for a dump just before the election. Voila, no crime because Trump's minions didn't do the hacking. See how easy that was. Yes, Don Jr. tried to collude with the Russians but was too dumb to pull it off. And yes, there were numerous other attempts by Trumpettes to coordinate with Russians but they were too incompetent to make it happen — no foul, no crime. As for obstruction of justice: Yes, Trump fired Comey. And yes he wanted Don McGahn to fire Mueller and then ordered him to lie about it. And yes, Trump lied and misled investigators. But unlike Bill Clinton, it wasn't under oath. And besides, you can't indict a sitting president — no frog-walk, no orange jumpsuit. So pour the vodka into the juice and take a big, long drink. Feel better?

What You Missed

All the Trump news is making the country nuts, or, according to Michelle Obama, feel like we just spent a weekend with our divorced father. You're right, Wilson, it seems more like spending time with your alcoholic, abusive step-dad. Anyway, there is other important news out there that shouldn't be passed up without note. The staff here at Smart Bomb has assembled some headlines (we are not making this up) you may have missed: Baby Diapers Are Hiding Some Filthy Secrets; Watergate co-conspirator James McCord died two years ago; Anti-Vax Movement Is Now Infecting the Pet World; Seagrams Heiress Pleads Guilty in Sex-Cult Case; Does A Year In Space Make You Older Or Younger?; Great-grandmother Fends Off 300-pound Burglar In Boxer Shorts With A Baseball Bat; Opra Reveals What She'd do if Gayle King Slept With Stedman Graham; 'Selfie' Deaths: Don't Blame The Victim; Mom Jeans Made Women Love Denim Again; How Porn Stars Balance Sex Work With Parenting. And finally, in honor of Holy Week, this headline: The Disciples Argument For Why Jesus Wasn't A Zombie. There now, you're much more informed.

Post Script — One pundit recently said: “Mueller made one mistake, he trusted Bill Bar.” Immediately, it reminded the staff here at Smart Bomb of Animal House, when Otter said to Flounder: “You fucked up, you trusted us.” We're not sure how Sarah Huckabee Sanders fits into the National Lampoon's classic '70s movie, but her admission to the special counsel that she lied to reporters and the American public about FBI agents and employees hating Jim Comey is akin to stuff you might have heard at a drunken toga party. And when you think about it, the current White House is a lot like Animal House, but although Trump's minions are screw-ups, they just aren't that lovable. We'd never invite them to a toga party.

That's it for another week here at Smart Bomb, where the staff continues to work on cures for the Mueller hangover. It's dangerous work, but someone has to do it. Our research has led us to believe it's best to avoid drinks like the White Russian and the Moscow Mule. The staff is leaning toward Man of War, but Wilson and the band are partial to a concoction called Between the Sheets. Don't ask. All right Wilson, get us out of here with a little something for our national hangover:

I called the doctor, I woke him up / I said doctor, is there nothing I can take / I said doctor, to relieve this bellyache / He said, put the lime in the coconut and drink it all up / You put the lime in the coconut and drink them both together / Put the lime in the coconut and you feel better / Put the lime in the coconut and call me in the morning...

[itsalycenotalice]

Hawaii Five-0 - Episode 8.22 - Kopi Wale No I Ka I'a A 'Eu No Ka Ilo - Press Release

FIVE-0 MUST HELP DUKE AFTER HE IS FORCED TO STEAL CRUCIAL EVIDENCE FROM THE POLICE LOCKER IN EXCHANGE FOR HIS KIDNAPPED GRANDDAUGHTER, ON “HAWAII FIVE-0,” FRIDAY, APRIL 27 “Kōpī wale nō i ka i'a a 'eu nō ka ilo.” – Five-0 must help Duke after he is forced to steal crucial evidence from the police locker in exchange for his kidnapped granddaughter. Also, Jerry goes undercover at a mental health facility in order to solve a murder, on HAWAII FIVE-0, Friday, April 27 (9:00-10:00 PM, ET/PT) on the CBS Television Network. (“Kōpī wale nō i ka i'a a 'eu nō ka ilo.” is Hawaiian for “Though the Fish is Well Salted, the Maggots Crawl.”) CHEAT TWEET: #H50 fans, Jerry finally gets his own case and goes undercover! @JorgeGarcia @HawaiiFive0CBS 4/27 9pm #CBS http://bit.ly/2q8GS6R REGULAR CAST: Alex O’Loughlin (Steve McGarrett) Scott Caan (Danny “Danno” Williams) Chi McBride (Lou Grover) Jorge Garcia (Jerry Ortega) Ian Anthony Dale (Adam Noshimuri) Meaghan Rath (Tani Rey) Beulah Koale (Junior Reigns) Taylor Wily (Kamekona) Kimee Balmilero (Noelani Cunha) Dennis Chun (Sgt. Duke Lukela) RECURRING CAST: Kunal Sharma (Koa Rey) GUEST CAST: Shi Ne Nielson (Carrie Nakahara) Cidni Romias (Akela Nakahara) Kanani Dias (Becky) Tongayi Chirisa (Don) Kendall Prochnow (Sgt. Frank Bellina) Devin Ratray (Harris Stubman) Michael Hake (Chris Kosaki/Dylan Shu) Joanna Sotomura (Mila) Konoa Goo (Chad) David Kaufman (Trent Sanders) Spike Jones Stedman (Kid) Reno David (Mr. Kalani) Kamakani De Dely (Lead Kidnapper) Wesley Cortez (Mark Tuilau) WRITTEN BY: Rob Hanning & Rachael Paradis DIRECTED BY: Ruba Nadda SOURCE:CBS

SOURCE: https://www.spoilertv.com/2018/04/hawaii-five-0-episode-822-kopi-wale-no.html

#h50 #hawaii five-0 #hawaii 5-0 #h50 8x22 #8x22 #alex o'loughlin #scott caan #chi mcbride #jorge garcia #ian anthony dale #meaghan rath #beulah koale #taylor wily #kimee balmilero #dennis chun #kunal sharma #shi ne nielson #cidni romias #kanani dias #tongayi chirisa #kendall prochnow #devin ratray #michael hake #joanna sotomura #konoa goo #david kaufman #spike jones stedman #reno david #kamakani de dely #wesley cortez

[don-vito-sottocultura]

Stedman (t shirt galfer), decathlon (boxer kipsta) Don Matteo Vs Gastone moschin... Episodio 14 il fuoco della passione... Bibite a posto fino a carnevale ahahahah (presso Don Vito's Cats Bar Home) https://www.instagram.com/p/CV-TmGWD7Rq/?utm_medium=tumblr

[savetopnow]

2018-03-09 15 SPORTS now

SPORTS

Barstool Sports

Girl Scouts Change Their Rules And Make It Okay To Sell Girl Scout Cookies In Front Of Weed Dispensaries

College Baseball Announcer Becomes Befuddled While Reading A Pitcher’s Bio Filled With Always Sunny Quotes

Rory McIlroy Announces Tiger Woods Is The Undisputed Greatest Player Of All Time

Is It Acceptable For Some Strange Lady To Take A Selfie With My Dogs Without Permission?

Michael Rapaport gives an inspirational Slam Dunk contest speech and his NBA mid-season awards

Deadspin

Clippers Quickly Realize That Maybe Ayn Rand Isn't The Best Example To Use In Their Dating App Partnership

Mike Moustakas Will Return To The Royals For Less Than Half Of The Qualifying Offer Value

Jaylen Brown Somehow Walks Off Court After Landing On Head [UPDATE]

Reports: Broncos Trade Aqib Talib To Rams

The 10 Best Deals of March 8, 2018

ESPN

Keuchel: No hangover, Astros 'not the Cubs'

Warriors lose Curry to tweaked right ankle

Celts' Brown: Have headache but OK after fall

Hurts dons Auburn jersey after lost Barkley bet

Source: Broncos' Talib to Rams for draft pick

FiveThirtyEight Sports

Beside The Points For Thursday, March 8, 2018

Is Showboating Hurting The Warriors?

The NBA’s Wild, Wild Western Conference Playoffs Race

The Ridiculousness Of Conference Tournament Locations, In 6 Maps

Why Denver’s Gary Harris Could Be The Next Kawhi Leonard

Reddit Sports

Mike Tyson dodging punches against Reggie Gross in 1986 and waiting for his open window.

Celtics Jaylen Brown falls awkwardly after dunking

Baseball fan army crawls back to seat so as to not obstruct the view of his fellow humans

Argentinian man creates stadium’s like football tables.

[NRL] In his first game against his former team, Ben Hunt scores an intercept try

SB Nation

Serena Williams wins 1st match of her professional comeback

What to know about the Big East Tournament

Top seed Middle Tennessee knocked off in Conference USA tournament opener

AAC Tournament 2018 bracket, schedule & results

Big 12 Tournament updates & scores

Sports Illustrated

On the Eve of Free Agency, the Cautionary Tale of Suh

Steph Curry Leaves Warriors–Spurs Game After Injuring Ankle

Talkin' Top Chef Finale: A Winner Is Decided

Celtics' Jaylen Brown Walks Off Court After Horrible Fall

With Aqib Talib Trade, Rams and Broncos Show That Neither Is Content to Settle for Mediocrity

The Ringer

NBA ICYMI: A Short Bench and a Long Night in Minnesota

‘Atlanta’ Season 2, Episode 2: “Sportin’ Waves”

‘Atlanta’ Traces the Anxiety of Early Rap Stardom

‘Star Wars’ to TV and ‘The Sopranos’ to the Big Screen

Trump’s Obsession With Video Games Is Dangerous

Yahoo! Sports

Two-Round 2018 NFL Mock Draft: Steelers find QB of future, two teams trade up

LeBron James says Cavaliers’ seed irrelevant: ‘If I come into your building for a Game 1, I can be very challenging’

Jordan Clarkson: Lakers players discussed LeBron James signing with Los Angeles

You better avoid these teams in NCAA tourney

Stedman Bailey is working toward an NFL return, two years after being shot in head

#sports

[joebustillos]

JBB's Final Thoughts Episode 19: When I'm 80, Part II

JBB’s Final Thoughts Episode 19: When I’m 80, Part II. Leaving important stuff in our lives to do “some day” isn’t wise. But how does one prioritize all the things we care about with all the things that need to get done? Covey and Graham have something to say about this, that even an unemployed dude can appreciate.

MP3 Version:  ht…

View On WordPress

#audio podcast #featured #having a plan #important things #jbbsfinalthoughts-podcast #leo laporte #leolaporte #lifestyle #plans #priorities #some day don&039;t come #some day kind&039;a stuff #stedman graham #stephen covey #the future #work/life balance