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Professional wrestlers have always been well-known for their athletic abilities and entertaining performance. However, not many wrestlers have been considered to have aesthetically attractive bodies, since that was never a requirement. The rare ones who did work on their body image, however, were the very best at it. Here is a list of five of the greatest physiques in sports entertainment history. Rocky Johnson - The father of The Rock, Rocky Johnson was probably one of the first professional wrestlers to actually take care of his body. Back then, most wrestlers looked like Dusty Rhodes, with their beer guts hanging out of their trunks. But not Rocky Johnson! Even at a time when he was constantly surrounded by overweight and out of shape colleagues, he was at the top of his game, standing 6 feet 4 inches tall and weighing in at 260 pounds. With a set of ripped abs and a muscular physique, Rocky Johnson was a sight to look behold. Ravishing Rick Rude - At the height of his career, Rick Rude claimed that men wanted to be like him and women wanted to be with him. He might have been right since he did indeed have quite a ravishing body that looked more like a fitness model than that of a bodybuilder. Because of this, he was actually more of a polarizing superstar than even John Cena was. His appearance on stage would result in a mix of boos from men and cheers from all the women. Triple H - Triple H had been into bodybuilding long before his wrestling days. Fortunately, he did not quit once he started wrestling. Although he did not maintain his body throughout his wrestling career, he did however, stay big. Triple H was at his peak physique in WrestleMania 18 when he competed against Chris Jericho for undisputed championship. Batista - From the very beginning of his professional wrestling career, Batista has had an impressive body. Billed at 6 feet 5 inches and 318 pounds, he was huge, but unlike other 300 pounders, he was in perfect shape. The best part of his body is without a doubt his shoulders and traps, that are so muscular that he looks like a grizzly bear! His weakest part is probably his chest. Despite being slightly over-billed, he is a legitimately well-built man with great athleticism. The Rock - Due to either his superior genetics, his solid work ethics, or both, the Rock has achieved one of the greatest physiques ever in the history of sports entertainment. While he may not be sporting ripped abs like others, he is very well proportioned as his arms, legs, chest and shoulders are just the perfect size. During his latest run with the wrestling industry, he gained more muscle, but his peak was probably during 1999 to 2000.

The Allach porcelain factory (PorzellanManufakturAllach) in Bavaria operated from 1935 to 1945 and produced works of great skill and beauty that are prized by some collectors. Some but not all, because the plant came under the control of Heinrich Himmler and the Nazi SS and used forced labor from the Dachau concentration camp. Many of the finest ceramic artisans worked at Allach, not always voluntarily, and many of the pieces made there incorporate the infamous "SS" runes. The plant was closed in 1945 and never reopened, but Allach pieces today are widely sought despite their macabre history. Allach is located 499 km (310 miles) south of Berlin, and is 11 km (7 miles) from Munich. Its closest neighbor is Dachau, where in 1933 an old gunpowder factory was made into one of the first concentration camps. In 1935, Dr. Karl Diebitsch opened a porcelain factory there with businessman Franz Nagy. Diebitsch was a noted artist who designed German postage stamps and supervised the renovation of the ancient Quedlinburg cathedral. He had also been a Nazi 1920, and was a close friend of Himmler's. Diebitsch became an SS Oberführer and also designed the notorious black uniform and the death's head logo. Himmler became interested in the porcelain factory, and it was taken under SS management in 1936. Diebitsch and Himmler felt that the factory could produce authentic manifestations of German art and Aryan culture, and could capture for the SS some of the lucrative market for decorative porcelain. Professor Theodor Kärner was recruited from the Meissen works to assist Diebitsch, and many artisans were hired from other porcelain makers. About 250 ceramic models were made, and the pieces were so popular that a production line was started at the Dachau camp itself. Dachau inmates testified that they worked on porcelain although the plant managers denied this.The factory was shut down shortly before Allied troops reached Allach in the last week of the war. Diebitschsurvived and worked as a porcelain artist until his death in 1985. Franz Nagy attempted to reopen the factory without success, but a few pieces exist which bear the imprint "N" rather than the "SS" mark. Luftwaffe and Wehrmacht figurines were among the many articles produced at Allach, and these attracted the attention of collectors of World War II military memorabilia. Much of the Allach catalogue reflected Nazi ideology, and hearty peasants, sturdy workers, happy children, whimsical folklore characters and charming animals are the most numerous pieces, along with dinnerware, presentation plates and commemorative pieces. The best known and most numerous Allach pieces were Julleuchter, candle holders that celebrate the winter solstice and are decorated with pagan symbols. These were kept low in price so that all families could afford them, and were given by Himmler's order to all members of the SS. A small number of bronze statues, chiefly of a winged Victory, were also produced by the plant. Despite their tainted provenance, there is still demand for these fine pieces, and extensive information, pictures and sale information can be found on the collectors website

Fantasy suddenly collides with reality. The hysterical fans go through every emotion known to human kind in one single moment being face to face with their one great idol. Sometimes, they are not such big fans but still react to the celebrity in an unexpected manner when in their presence. What happens? Where do all these emotions come from? Every bottled up variation of love and desire and unmet needs come to contact with That Person... How did this happen? To a lot of people, superstars are not exactly real people. They know, logically that they are living and breathing human beings that live on planet Earth, but they are not real in the same sense as everyone else is. They know there's styling, they know there is all image and fluff and fantasy surrounding them, and they fall in love with the fantasy. The fans are partly aware of the fantasy, partly shielding themselves from realizing that they are in love with a fantasy figure to an extent. Very few dare to guess how much of the person is real and how much of them is fiction. They remind themselves all the time that the photos are manipulated, the starlets are covered with makeup and that nothing, really, is real, but they adore the image nonetheless. But in the real life, when that fantasy figure stands in front of a fan, just as incredible as they imagined, even more so... Their heart nearly stops. It wasn't even supposed to be possible. This is not what they expected. The reality... Was More Incredible than the fantasy! It was only supposed to be clothing and accessories, but what they met was charisma. Heart. Someone loving and caring, humorous and fun. Someone who made the fan feel right at ease with their idol. That was not a part of the plan. The realization that you weren't misled after all, that the fantasy was real, and that this person is every bit as amazing as they were said to be and... they were nice to you, it is all a little bit too much to bear. You cannot tell whether you are still under an illusion of some kind, or, are they, really, that amazing? Then, the fact that you cannot have someone like that in your life, never in a million years, creates a state of desperation; the realization that there is nobody in this world that will ever measure up to this person - who, incredibly, was a real, authentic person. The two worlds collide; your every day life with no fantasy in it, with the real world of the idol, their sparkling charisma and star quality, the stuff that people took for granted would not be there in real life. The shock of having to re-organize your idea of your reality on the spot can shake you up to the core; the person you dared to even criticize because you were afraid they wouldn't last a close inspection, stood right there, with no difficulty showing you who they really are. The fan was prepared for a disappointment. They were prepared to be laughed at by their own idol, pointed finger at and told to disappear because the star would now need to be left alone or whatever, but what they weren't prepared for was an authentic, caring hug and "thanks for coming. It means a lot." That stuff. That is unbearable. The sudden realization that there are nice people in the world; sometimes that one moment gives you more love than what you have known from your parents and your friends combined. The stark contrast can floor you. In a sense, being shown how little you've had in comparison to what people are capable of giving. Heart breaking, but so necessary. Someone needs to show people love. As fleeting as the moment is, the connection is real, the love is real... Even though it is universal, meant for everybody alike. When love rushes into emotion-deprived soul, like especially teens often are, the devastation is visible. The desperation of knowing that the moment will pass soon, will spur up more emotion, the fleeting moment that you are allowed to stay in the company of a perfect human being - because even in their imperfections, to a fan, a star is perfection reincarnated and there is no shame in understanding that. The best possible use for a star is for the fan to evaluate exactly why they are in love with the star, what qualities are those that they value - because, unbelievably, those qualities are human qualities and non-famous people, that quite available to the fan, possess those same qualities... From the star's perspective, they possess much more qualities than most fans are aware of. That is what made them stars in the first place. What is interesting too, is that a lot of people, who see nothing in common to each other, consider themselves "just like" their mutual idol. This is because stars so often possess so many qualities that their fans can easily identify with a small portion of who that person is - and be forever arguing about what kind of a person the star really is. People can also always look at the star and reject all qualities that they don't like and decide "that is the image" or "that part is the part that got ruined due to fame". They can edit the star in their mind to fit their idea of who they want them to be, too. Further, even though the fan sees perfection, the star themselves maybe even more perfect than what the fan is capable seeing, or possess far more complicated qualities than what the fan wants to acknowledge. To a lot of fans, kindness is the one quality that they adore over any other trait the star may possess, even talent included. After they meet a fan, they rave about "how nice they were" as if that was a skill worth more than all the talent they possess and some kind of a surprise to them. The talent, to many fans, is a bonus and to a lot of fans really doesn't mean as much as their kindness. You can only appreciate talent as far as your own abilities allow, but everyone is capable of understanding kindness. And some people are in desperate need of it. Although to many stars, kindness, friendliness and politeness is somewhat of a non-issue. Evolved people are like that, they don't know any other way to be than to be nice to people, it goes without saying. Friendliness is not an act, it is just a sensible way to deal with people, because you will find it a lot easier to get along with people and get ahead in life if you are nice to other people rather than always picking a fight and acting aggressively or dismissively towards others. Such people would have to be incredibly talented, inhumanely talented even, to get anywhere near the top with a negative attitude like that. (Fictional example; Dr. House had a bedside manner of a brute, but because he was so good at what he did, people had to simply put up with him. Anyone with less skill would have been sacked at the first incident.) When a fan mistakes friendliness for friendship or for flirt and genuine interest, and should it somehow get out of hand through stalking behaviour, the fan would be surprised to be turned down - and quite eager to fill the tabloids with stories about how deceitful the star was towards them. When the star loses that kindness as their career progresses and becomes angry, another set of emotions is released in the fan, who is likely to misinterpret the star's frustration based on their own world view. The fan will feel a need to rescue the suffering star by showing them love even when the star fights and rejects expressions of adoration or acts hostile towards his fans like Jim Morrison did. To someone who values kindness and love above everything else, the instant conclusion is that their idol has been treated unkindly and been exploited. What is heart wrenching to know is that an angry star isn't in need of love but true appreciation and understanding... Of his talent... His intelligence. The one thing that most fans cannot even conceive him lacking. He is lacking a peer, someone who challenges him, someone who is equally incredible as him, someone who doesn't pretend to understand, someone who doesn't simply praise his work out of habit or because they feel obligated to, but someone who truly understands what he is saying with his art, that is never just a way to make money, it is a way to self-express, but when that self-expression is taken as simple artistry, the message goes unheard and you wind up talking to walls. Adored by millions... An artist self-destructs or commits suicide and people wreck their brain wondering why someone so loved and admired would feel so unhappy and not feel fulfilled... What else could he have possibly wanted... And the one thing they lack is a challenge. An opportunity to impress someone who is difficult to impress. They feel a LACK of appreciation of their peers. When everyone is simply praising everything you do - even the projects that were obviously lacking - you realize there is no point making an effort anymore. You can no longer make a mistake, and you realize all "criticism" you receive comes from viciousness and a need to make the critic feel better about themselves and to make the critic sound "knowledgeable" by insulting your over-blown ego that they see is a threat to their own ego. Even the people the artist works with may lack understanding of what they are about, and when all praise comes based on their past achievements, what is there to live for or work for? You can produce mediocre work and be praised as if it was your masterpiece... Everyone being careful not to step on your ego thinking that if anyone points out the slightest of flaws in your work, you will flip for it. And some will. The ones who never had much talent to begin with, who simply want to bask in the attention regardless of what got them that attention. And it is these artists that the fans fear and expect to meet. The ones who throw dummy spits and boss people around demanding special treatment only to cover up the fact they know they are nothing and are getting everything regardless. The stars who need their ego stroked are people who are protecting themselves from being found out as "fakes". They are either afraid that they are NOT as talented as people give them credit for even though they are (Steven Tyler) or they know that they haven't got the talent they insist people give them credit for regardless of the fact. (Check out Big Eyes, the movie.) The talented-but-afraid-of-not-being-that group are in not too bad of a situation if someone can convince them that they are worth every bit of praise they're getting, but it will have to come from someone who they trust to be able to tell the difference... But most people will not attempt to convince an artist for their talent because people, even professional councilors, are always afraid of "inflating a star's ego". But there is no helping a person who knows they are faking it, because their soul is in a growing phase; they have just figured out that people have different levels of talent. Before, they didn't realize it, because their soul was too young and inexperienced to tell the difference between true talent and some talent, but now, all of the sudden, they are painfully aware of it. Lacking the talent, they want to deceive others who are still unable to tell the difference, possibly thinking they themselves are the only person alive who can tell a difference between a person with a talent and the other kind. They think everyone around them is too stupid to see they are not that talented, and they can make quite bold steps in order to further deceive people, who are, in reality simply politely not noticing the pretense and self-elevation although it was plain for them to see. The next step for someone with an inflated ego is to simply start learning; to start filling up the empty spots in the ego with actual skill and talent... In the next life they will be a little bit better... And in the following, another bit better and so forth, until they become what they wish to become. Another interesting point in dealing with one's own talent becomes when you realize that you are at the top of your own game. This is a difficult position to be in, because the people who are capable of accurately assessing exactly how good you are become fewer and fewer in between. So you start doubting yourself and your own sense of reality, you wonder whether or not you are giving yourself too much credit because others may not be equally impressed by you at all, or the people who are, don't really show you that much appreciation. This comes from the fact that these people think you MUST know how great you are, and therefore they don't want to bore you by telling you that again, or again, they don't want to further inflate your ego. The other part of it is that most people simply don't know exactly how good you are, so even if they praise you, you simply discard their praise because you can tell they wouldn't know the difference between a talented person and a genius even if they wanted to. You know that they are simply following a band wagon, they adore you because someone else told them you were the one to pay attention to. Your peers feel threatened by you so they say nothing, they simply lap up your praise for them, because, chances are that someone who is quite certain of their own talent doesn't shy away from showing appreciation to those who deserve it, even if it meant that they themselves go without. So... You wish your talent will speak for itself, but it simply won't happen because the people who could make that judgement call with enough credibility to move masses are about one... in... a few million... So you wind up being one of those underrated people who simply fly under the radar as you struggle to decide whether or not you're actually good enough to make a fuss about yourself... Or simply imagining that you are. But for the fan... We still have the permission to adore. And I shall. *Puts on some music*

Professional wrestling has always welcomed gigantic performers into its ring. The audience also loves gigantic performers because large men portray an air of intimidation that smaller men do not. In fact, the wrestling world is so obsessed with size that it often over-bills wrestlers' height and weight statistics to make them seem like larger than life characters. Unfortunately, though, size does not necessarily translate to one being a good in-ring performer. On the contrary, for some wrestlers, their size was the main thing that kept them from performing at full potential! Here is a list of pro wrestling's five tallest and well-known wrestlers, and a brief history of their careers: 1. Kane - Although not the biggest in the list, Kane was initially billed at 6 foot 8 inches tall. Compared to a normal sized human being, that is very big! However, Kane has confessed to wearing platforms to make him look taller, so his real height will always remain a mystery. Nevertheless, when it comes to performance, Kane is a solid wrestler. He is fast, strong and agile, and most importantly stable, unlike other big wrestlers who seem wobbly on their feet. Kane has been in the business for 20 years, and has won the world championship three times as the Big Red Machine. 2. The Undertaker - Billed at 6 feet 10 inches tall, there is no need to introduce the Dead Man! Not only has he been cutting good promos all his life, he is also a wonderful wrestler. His move sets are quite unique to a man his size, especially his high-flying moves, that look all the more spectacular due to his stature. The professional wrestling world will always remember The Undertaker for his theatrics, his WrestleMania streak, and his undying loyalty to Vince McMahon and his company during the Monday Night Wars. 3. Big Show - Billed at 7 feet 2 inches, Big Show is a tall man. He is also quite heavy, and that makes him look much larger than other wrestlers in this list. Again, despite his size Big Show was quite athletic, especially during his early days. Some of his greatest matches are just spectacular to watch, more so when he went against opponents who were just as strong as he was. People will probably never forget the time when he choke slammed The Undertaker through the ring, or when the ring collapsed under his and Brock Lesnar's weight after a devastating superplex. Actually, people will probably never really forget the Big Show, due to his size and good in-ring ability. 4. The Great Khali - When he debuted, The Great Khali was initially billed at 7 feet 3 inches, however it was later reduced to 7 feet 1 inch. Unlike other giants, Khali did not receive much fame, as his in-ring ability was very limited. Soon, people started "You can't wrestle" chants, which probably put the final nail in the coffin, as Khali later performed as a comedic character instead of an actual wrestler. 5. Giant Gonzalez - Giant Gonzalez was probably the tallest man to ever step foot in a wrestling ring at WrestleMania. He stood a staggering 7 feet 7 inches tall! However, his in-ring ability was extremely limited, and his horrible attire completely ruined his image for the audience. Despite that though, he did have a match with The Undertaker at WrestleMania 3, which is noteworthy. He had to quit wrestling in 1995 due to his progressively failing health, and later had to use a wheelchair. He passed away on 2010, at the age of 44.

In my 18 years of working with small businesses as an accountant, I have come to see the importance of building intangibles in your business. What are intangibles? Intangible assets are those assets that you cannot see or touch but yet increase the value of your business. When building a business, you should be thinking of the day you will possibly exit either by transferring ownership to your children or selling your business. No matter how much you love your business there is going to come a time when you want to exit The time to exit is not the time to start thinking about selling. But now is the time to think about it. You want a turnkey business so the next person who takes over your business has everything they need to start. To build a turnkey business you will need to build the following: A learning organization culture Standards and procedures that are interwoven into your business A solid financial system A solid marketing system A learning organization culture The desire to learn is deeply ingrained into the human psychic. The book publishing industry is a 29.5 billion dollar industry. The impulse to learn comes from desire to grow. As humans we instinctively want to better than we were yesterday. The problem most businesses have is how to tap into this inborn desire. It is much easier to leave things the way it has always been done rather than change things for a possibility of a better outcome. Organizations that integrate learning and growth as part of their organization culture are worth more than ones that do not. Standards and procedures that are interwoven into your business One of the power of franchises is the standards and procedures that are interwoven into their business. There is value in training employees to follow a proven system. A potential buyer of your business will appreciate the fact that they do not have to re-invent the wheels. Standards help to keep consistency in the transition of employees. A solid financial system I can never over emphasize the importance of knowing your numbers. To accomplish this you need a good financial system in place. Like anything else, when you put garbage into your financial system, you get garbage out. You need a reliable system to accurately organize all the transactions that take place in your system so you can produce meaningful financial statements. Your financial statements should be reviewed at regular intervals as means of directing the actions needed in your business. Having a solid financial system increases the value of your business to a potential buyer. A solid marketing system Finally, no business is worth anything without customers. You need a system of attracting and retaining customers. The better your system, the more valuable your system will be. Moreover, you should have a well-developed customer database. A well-developed customer database increases the value of your business. Summary In summary, the best time to start thinking of selling your business is now. Knowing your business is sellable makes it worth all the effort you put into your business. Why waste time building something that has no legacy value?

One of the things we really don't know about ourselves is our place in time. It is easy enough to believe what we are told, which is human society is roughly ten thousand years old, but is it true? Many intelligent people might say of course to this, but if they did they would be ignoring all the proof around them. Before getting into the meat and potatoes of what I am talking about, I would first like to say our current dating systems leave a lot to be desired. Some objects have no way of being dated at all and many ancient objects are dated by the age of the soil around them and using the strata they are found in to guess their age. It is possible areas of the earth were affected by earthquakes and such and objects which might have been at a lower depth were brought up to a higher one in by the earth's activity. While strata is a good way to date, it certainly is not perfect. Has this type of dating caused us to miss the true age of some objects? When it comes to large structures stone cannot be dated at all, so scientists will try to date mortar by examining what is in it. Many ancient structures were built without mortar by interlocking stones. How does one confidently date something like this? They might try to tie in stories from area natives about what tribes were present and where, they might look for organic material trapped between the rocks when the structure was built and try to date that, or they might try to give a guess estimate based on things found around the structure like pottery and such. This last dating method might be completely off if ancient structures were abandoned and then reoccupied. I have a hard time accepting some of the dates we have been given. If we look at the pyramids which were recently found in Bosnia, we get age estimates of their age from 12,000 years to 80,000, depending on who is doing the dating. The 12,000 year age estimate was made by measuring the age of the top soil on it. The discoverer of the pyramids in Bosnia sent organic material found between the blocks to a lab and it was dated to be about 25,000 years old. Why is science so scared of giving us a date from very far back in antiquity? The true age of the pyramid is probably at least 25,000 years, but main stream science doesn't want to admit that. Could there be an ulterior motive? One motive might be since this pyramid would be about 20,000 years older than the Egyptian pyramids and Egypt needs the tourists and is a stabilizing force again in the Middle East, the western world don't want to upset their apple cart. They have taken credit for thousands of years for building the first and biggest pyramids in the world and the truth is they did not. They stood in the way of exploration under the Sphinx, when what looks like a room was found under one paw using radar and many said there might be hidden records in it. Could it be if there was, they would have shown Egypt did not build the Sphinx, or the pyramids was copied from structures from other countries? It has been pointed out there are pyramids which seem to be the first and others which seem to be progressing to the pyramid shape we all know. Maybe the earlier pyramids were just failures at copying? When we find monuments such as the Bosnian Pyramids, of which there is at least one bigger than the Great pyramid in Egyptian, which reaches to a height of 220 meters verses 139 meters for the Great pyramid in Egypt, it means our history is incorrect and this fact has been covered up successfully for quite some time. There is something about our history which compels secrecy from those in charge. If anything is discovered which hints at human habitation in cities or the building of great objects which are older than about 10,000 years, it seems to get hidden. We are not supposed to know about these things. When the discovery was made of the Bosnian pyramids, the discoverer was told not to mention them, but he bravely announced it to the world and then invited students to come and help dig them out. It was a very brave move against the establishment. Hopefully this will lead to the announcement of other discoveries which are being kept from us. We are a much older race than we have been told and our history might go back even before the dinosaurs. I mention this fact, because there is undeniable evidence in pictures on cave walls and ancient pottery showing humans and dinosaurs together and the dinosaurs depicted could not have been known about to be painted, if we believe what we have been told. How did a cave dweller back 25,000 years ago know how to paint a picture of a perfect representation of a dinosaur? Since cave dwellers or cave men as we like to call them existed, could it be man was more advanced far back in time and something happened sending him back to the Stone Age? Perhaps a great war took place or an asteroid hit the earth? It doesn't matter what the cause might have been, but it does seem strange a structure like the Bosnian pyramid could have been built at least 25,000 years ago and built by cavemen. Perhaps the pyramid was built before that and the organic material somehow got into the pyramid's wall some other way after it was built and already ancient. The earth is said to be 4.5 billion years old. I hate to just accept this as true, but let's assume it is. Why couldn't man have been on the earth for at least 500 million years? Some might say impossible we have found no indication of that, but maybe we have. Skeletons of humans were said to have been found in the mountains of California during the gold rush when mines were being dug. The mines were being dug into mountains said to be about 25 million years old. It might be next to impossible to find a human skeleton this old even if it existed, because no one would want to say they found it. No archaeologist wants to subject themselves to ridicule so when they find things which don't fit into a certain timeline, they don't announce the finds. We are all living a lie when it comes to our history. So much is being kept from us and if we knew it, we would have a completely different picture of our place on this planet. By the way I don't ever expect any archaeologist to agree with what I said.

Based in Michigan, Frank Torre is an entrepreneur with a history of successfully building, expanding, and growing companies. Currently, Mr. Torre serves as CEO of Signal Restoration Services, a full-service disaster restoration contractor based in Troy, Michigan. Since its founding in 1972, Signal Restoration Services has specialized in property loss mitigation both in the state of Michigan and nationally. In 1992, Mr. Torre established Torre & Bruglio, Inc. and grew it into one of the largest landscape and horticultural services contractors in the Midwest with over 900 employees servicing more than 800 business accounts. In 2000 Torre & Bruglio expanded into the golf course management business providing maintenance to golf courses ranging from 18 holes to 36 holes PGA Tournament courses as well as clubhouse hospitality and event management services. Frank Torre sold the landscape and horticultural services business to Brickman Group in 2008 who continue to follow Frank Torre's philosophy of commitment to a culture of excellence for all clients. Outside of his career, Mr. Torre remains very active in the community. Frank Torre serves as the Chairman of the Board of Directors for the Rehabilitation Institute of Michigan, which is part of the Detroit Medical Center as well as serves on the Executive Board of the Tenet Healthcare Corporation, located in Dallas, Texas, which owns DMC. Together with TV personality Rhonda Walker, Frank presented the Rehabilitation Institute of Michigan's Heroes Award to one of the patients, a young man from Detroit who was in a wheelchair. As Chairman of the Boys Hope and Girls Hope Club of Detroit, an academic and philanthropic scholarship program for underprivileged youth in the metro Detroit, Pontiac, and surrounding areas, which supports various philanthropic endeavors and activities to promote education and opportunity for the underprivileged. As a long time supporter of the initiative, during the 21st Annual Golf Classic held to support the Boys Hope and Girls Hope of Detroit at the Oakland Hills Country Club in Bloomfield Hills, Michigan, a suburb of Detroit, Mr. Torre was responsible for raising over $2. 5 million at this annual event to help strengthen the programs and initiatives of the Boys Hope and Girls Hope of Detroit. Frank Torre, in collaboration with Roger Penske, owner of Team Penske and the Penske Automotive Group (PAG), maintains a major role in the annual Detroit Grand Prix races, a professional auto racing event which is held on Detroit's Belle Isle that brings together public and private communities and international attendance.

Slip casting is the common method used to make latex masks from liquid latex rubber. The latex rubber is poured into the mold, allowed to sit for some time before being poured out again into the container. The liquid latex that adheres to the mold is allowed to cure properly before being demolded to form a thin skin mask. However, not many people may be aware that the same technique can be used to make hollow ceramic and porcelain casts. How? Following are some simple instructions on how it's done: Plaster molds are usually used for this purpose as the porous plaster will effectively suck the water out of the clay slip. Clay slip is formulated by mixing dry clay powder with sodium silicate (water glass) and water to get the desired consistency. You can make your own or purchase commercially sold clay slip from the market. It is available in different consistencies and the consistency will dictate the time taken for casting. Clean and dry both the halves of the two-part plaster mold before matching them up and seal properly. Further secure the mold with rubber bands so that there will be no leaks later. Now slowly pour the clay slip into the mold. Fill it till the top and wait for it to settle. Slowly a layer of ceramic will start building along the walls of the mold. The thickness of the layer will depend on the amount of time you wait. Generally, waiting for 15-20 minutes should render a cast of 0.5 cms. thickness. You will find that the level of clay slip in the mold lowers gradually while you wait as the plaster mold sucks the water from the clay. This is what causes the clay to thicken along the edges and gradually form a cast. You can keep refilling the mold to maintain the desired level. Once the desired thickness is achieved, it's time to pour out the excess clay slip left in the center of the mold. Gently tilt the mold to one side and allow all the excess material to drain out. Do not flip the mold completely in a hurry. Then place the mold face down to ensure every last drop comes out. Place the mold on its side and let it cure completely on the inside. Once cured, all you have to do is separate the mold halves and gently remove the cast from the mold before finishing it off properly. A lovely hollow ceramic cast is ready! It can be fired in a dry kiln to further harden it permanently. It is simple and easy to reproduce a ceramic copy of almost any object in this manner. In fact, slip casting techniques are commonly used for making multiple copies of plates, bowls, vases, statuettes and other decorative ceramic objects. They can be glazed, decorated or painted before being sold commercially in the market.

A mere dream had resulted this story. The dream happened probably due to heavy daily chores. It was a real, pure, genuine revelation. In order to avoid any inconvenience or other dispute, the author stated the names which were in this article in pseudonyms. One day, I went to a seminar. While I was attending it, I could not concentrate on the topic even though I had given a good answer to the speaker's question. The speaker used my good answer as one of the points to sum up the quite lively seminar. Then, what was disturbing me? This was in my mind, a scene from a local private TV late adult-comedy-show. In that scene, there was a brand new young lady-seller who was proposing credit transactions. The buyer-seller agreements were: the prospective new buyer should order only to the seller daily and payments would be done on the following day after the buyer took the vegetables. While the two ladies were discussing in front of the house garage, the housewife's husband came out from the house. He was in his seventies. He introduced himself and he tried to court the young sexy seller publicly in front of his wife. He proudly told the seller not to worry of his wife. She would not be jealous and she would have no hard feelings of the seller. When the old man had gone into the house, the seller asked the young lady why she was not re-active towards her husband's acts and behaviour. "Well," she said, "I don't mind with my husband's flirting with the other women because I can collect so many proofs as my reasons to get a divorce. I will become a filthy rich divorced young woman and I can get a new, fresher, more energetic, younger man than the old scum or he might even be younger than me." The seller nodded several times, "O! Yeah, yeah!" The seminar ended late that night. After a little chat with one of the participants, I went back home. I straightly went to bed even though I was being a little disturbed by my trivial family matter (it was not the scandalous one, ha, ha!). Then, at dawn, I dreamed the following... There was an actress-cum-ad-model, Denise, who was on contract for TV ads which was run by Bradford, a world-wide, well-known medical-manufacturer where I worked. The President of Indonesia had elected her as a minister whose main task was to enhance the people's creativity. (What kind of department was it?) The actress was facing a legal suit and she was in the TV headline news. She was charged for misconduct, for living with two husbands. The second husband was 'Zoel', a well-known teenage-idol star. Imagine, a married woman minister-cum-actress and model, who was in her late thirties, having a second husband, a teenage-idol star who was aged early twenties! There were some crowds who were urging her to step down. Many people, including the media, blamed her for taking advantage of the so-called "poor 'Zoel'" who was still young, inexperience and immature. While demonstrations against her grew more and more, some streets and roads were closed for public. I could only walk on the streets to my office. On the way, I met another well-known actor-cum-ad-model, 'Panji', who was carrying a machine gun at his back. Someone asked me, he wondered how a civilian could carry a gun. "Well," I said, "I might know the answer but, I would be really glad if you could find the right answer directly from the actor's words." There were some news of the actor being charged for illegal gun possession. When being asked of it, the actor answered, "The matter was already closed and settled". He had offered a good bargain to the authorities. There were some business transactions being involved between the authorities and the actor. According to him, it was really a good bargain because it affected the welfare of the officers-in-charge who were living with low-income. (Could this be another scandal?) Meanwhile, the woman minister, Denise, slashed back. She brought a pregnant teenager to the court. The teenager had ever been in an intimate relationship with 'Zoel'. She was carrying his child. Denise protested the hypocrisy and she fought for the welfare of the "poor teenage fan". Later in the day, as I was engrossed with my daily chores, JJ, my boss, called me. When I entered JJ's room, JJ said, "Hey, do you know what I've found from my network? This Denise's case was triggered by 'Mang Usin', the well-known comedian whose contract we cancelled. Really, I do not have any wild idea that the cancellation could cause a setback to Denise. I somehow smell revenge from 'Mang Usin'. Something I do not expect a professional like him would do." ('Mang Usin' had hired somebody out of nowhere to blow the whistle. By doing so, he could deny any charge against him because "the words in public never came out directly from his mouth") I woke up from my nightmare or it might be said, my "dawn-mare." There are many moral lessons in this article. Namely, there are two, besides others. Firstly, do not underestimate other people (remember the housewife and 'Mang Usin'). Secondly, as the general rule of thumb, "whatever you wish that others would do to you, do so to them" (the 'NKJV' Bible, Matthew 7:12) (remember the woman minister and the old man). This article might be not too straight forward. It might be helpful for a psychologist to analyse but, it might be boredom to some. Nevertheless, I had revealed some insights to ponder. What a scandalous world would it really be should my dream come true.

Creating a Serious Art Collection Anyone with a passion for art and some discretionary funds can buy a few collectables for their home. It's a lovely idea and we hope everyone enjoys art as an integral part of life. But collecting is much more than hanging a painting over your sofa. It's a leap into the heart of the art world, a strange and wonderful junction where love, taste and commerce meet. When you are ready to get serious about collecting, it's smart to consult professionals who will help you navigate the complex process of creating and nurturing your collection. Here are the seven experts you should tap when you get serious about art: Art Title Provider, Art Consultant, Art Conservator, Art Insurance Expert, Art Attorney, Art Logistics Professional and a Collection Manager. Provenance, Pedigree and a Paper Trail You wouldn't think of buying a home without a thorough title check. Smart art collectors check the provenance (history) of any work prior to purchase. Buying and selling art "in good faith" is not enough as laws regarding legitimate ownership vary around the world. The stories about recovered Nazi plunder, the repatriation of looted relics and long missing works stolen from museums are fascinating, but you will not want to be a featured player in any of these dramas. Serious collectors protect themselves from buying works with a suspect history by employing the help of an Art Title Provider. In addition to the history of ownership, you may discover facts that enhance the value of your new acquisition, from inclusion in museum retrospectives to use in the set decoration of a film. A good provenance is a pedigree that appreciates with time. After you fall in love with a painting (sculpture, print, mixed media work, etc.) check the provenance to make sure the love will endure. The Vision Thing and Collecting When it's time to move from casual art buying to serious collecting, you'll want to develop a coherent vision for your collection and a strategy to get you there. An Art Consultant will advise you about when, where and what to buy in order to make your dream a reality, with knowledge about current pricing and a big picture perspective on when it's best to sell as well as what to buy as your collection matures. An experienced art consultant knows his or her way around the art auction houses, galleries, private sales, online art sites and art fairs. These critical advisors help collectors see which objects are mere infatuations and what you'll want in you collection long-term. Healthcare for Your Art Collection A professional Art Conservator is a key member of any art collector's team. They provide preventive care -suggesting how to avoid damage from light, mold and other hazards -and they may restore or preserve a treasured work that has been damaged due to an accident or neglect. Museums rely on art conservators to protect their investments and so should you. Natural and Unnatural Disasters Everyone in the New York art scene took note when Hurricane Sandy sent floodwaters into galleries and art storage warehouses in 2012, making Art Insurance a serious consideration for all collectors. An expert in Art Insurance will ensure that you have the appropriate kind and amount of insurance to protect your investment. Smoke damage, fire, a leak from a neighbor's loft and other less theatrical disasters are more likely than Steve McQueen as Thomas Crown lifting a painting from your wall, but theft and fraud are disturbing realities. Smart collectors carry insurance against disasters. Legal Protection An Art Attorney should be consulted on all your transactions to safeguard your best interests -both when you are buying art and when you are selling, too. A serious art collection may also figure in estate planning. An experienced art attorney will have recommendations that suit your personal and family needs. Artful Logistics Whether you are moving, reframing and rehanging, rotating what you display in your home, redoing lighting, loaning works to a show or simply putting art into storage, you'll want to consult an expert in Art Logistics. The right professional input can make the difference between a smooth transition and unnecessary and expensive missteps. Management -Is there an App for That? As you build your collection, organizing and cataloging the documentation becomes a serious endeavor. Between provenance, insurance valuations, purchase agreements and expenses, there's a great deal to archive. For some collectors, a Collection Management Software Program will help keep everything organized. Other collectors may require a Collection Manager to input information and to assess and organize the important records. In addition, a collection manager may help research artists included in your collection. It Takes a Village of Experts All art collecting starts with LOVE but it takes expert input to create a memorable and cohesive collection. Relying on professionals doesn't diminish your collector's vision -it enhances your opportunities and your knowledge of the art world. When you are serious about following your passion to acquire art, it's time to connect with the pros.

Many people have a tendency to run out and buy a frame for a piece of artwork in an effort to get it hanging in as little time as possible. However, such haste can only do a disservice to your artwork. Properly framing art requires analyzing it before ever considering the frame. Understanding the piece is critical to selecting the materials that will be used to frame it in as attractive a manner as possible. Let's take a look at three tips that will allow you to read your art prior to framing. Examine Color Value The color value is a measure of where a color fits along the white-to-black scale. There are three primary concepts to keep in mind when considering color value: tint, shade, and tones. When a color is further toward white on the white-to-black scale, it's a tint. When a color skews toward black, it's a shade. Any colors that are moderate and lie in between are considered tones. Watercolors and lighter, gentler paintings are mostly comprised of tints, for example. A dark oil painting is more likely to consist of shades. Identify the kind of work you're looking at and break down its collection of shades, tints, and tones. Decide which are the most dominant, because the colors and elements in your framing will look best when they reflect the artwork's dominant color values. Determine Color Temperature Is your work mostly comprised of warm or cool colors? You should have a pretty strong idea immediately after you've outlined the different color values. Warm colors are yellows, reds, and oranges, while cool colors are blues, greens, and purples. An autumnal-themed piece is likely to be comprised primarily of warm colors, for example. Once you have selected the predominant color temperature (warm or cool), you'll be able to make informed decisions about the mat color, which acts as the background to the art when framed. For example, a mat with a red border may complement an autumnal piece with a red sunset and golden flowers. Consider Composition Style Understanding the compositional style is particularly important when selecting your frame. Consider your art: is it a modern piece, or is it more classical? Does the piece feature a setting in a city, or is it a more rustic affair? After determining the theme, compare it to the available frame moldings. If you have artwork with a rustic theme, consider selecting a simple wood frame. If you're working with a more modern piece of art, consider flat or box molding. If you take the time to understand the elements that make up your work of art-color value, color temperature, and composition style-your art will benefit from a more beautiful and complementary selection of framing materials. This will add to your enjoyment of the piece for years to come.

Author's Prologue Some folks sport military garb, signifying being a Marine, or Army Ranger, or Seal, kind of a cape for courage, who are far from their courage. As well as others who sport a monkish cloak, or clergy collar, for Godliness, who are the very reverse of that inside? I usually do not write a prologue for my short stories, or for that matter, novelettes or novels, but this very prologue is the reason you should read this story and carefully weigh up its contents, you may discover the potency within is far more valuable than the title suggests. That is to say, the subject here treated is not as foolish as the title promised. Yes, it is written in a lightheartedness, but there is marrow in the bone to be discover and once discovered you must guard it with eyes of a devoted dog. To the dog the marrow is more delicious than the meat. For marrow is the perfect food invented by nature. This is a dreaded mystery, concerning religion and private life. Moreover, the manner of its writing and content are plain and boorish, laughable, playful, and always concealing. Some invisible courage, some over confidence, incredible contempt for what men struggle against. That is the reason you must open this story and carefully and not be deterred by what might look like nonsense, nor look at the literal meanings, but be like Plato infers in his "Republic", look for that marrow bone! Analogue There was a man in the land of Uz, a perfect and upright man, one that feared God, and of substance, and God boasted of this man. And there was a day the sons of God came to present themselves before the Lord, and Satan was among them. And the devil told God, that yes Job feared him, but should he take the hedge about him away, he would curse him after he got through with Job. And so God gave Job over to Satan with one limitation, not to kill him, otherwise to do with him for a short while, as he pleased, and Satan took away all his substance, all he valued the most, and Job was miserable but he knew God did not forsake him. And Job unaware of this meeting, was steadfast through all the destruction Satan threw at him. Yes there was difficulties job never expected, but had he not taken a closer look at who was the door-keeper, and the shadow of the devil with his big sharp nose and long thin black beard he was so famous for, he might have thought what everyone told him, he had a mark of some sin upon him, but he knew he didn't, he knew he was already weighed and balanced. His neighbor's, sons and wife cursed his bad luck. He even told his wife, "Can you not see the devil, he is right behind you, following you like a serpent in heat"; thus, she in heart, abandoned him. Many times the devil thought Job had reached his end, and thought he had let his failing senses catch the words and roars in his ear of those around him. Job knew, God did not cast any evil thing, so it must be something else, someone else, some hidden counsel that might have taken place, who's to say, I mean when God asked Job "Do you know what's in my storehouses," and Job said "No" well God simply put the brakes on there, said "Then you don't know everything do you wise guy?" Of course I'm stretching it a tinge. Well, in the long run, Job lived 140-years, and was given a double portion of substance after the secret game was over between the devil and God, a double portion from what he had lost that is, for his resoluteness, his devotion, and forever after it became one of the most told tails ever told. Job of course is only one book out of the Old Testament, we can go to the story of Cain and Abel, and it turns out quite different, a little envy on behalf of Cain because God chose Abele's offering more satisfying. Matter of fact we can even look at Noah's grandson Canaan, who was inflicted by Satan and got Noah to drink until he was drunk on his rump, and whooped it up bare flesh and all! So these stories are worth remembering when reading "Osmoses" and perhaps we might somewhere along the line as the question: why does God take the good and leave the bad? My best guess is, to prevent the good from going bad, and hoping the bad in time will turn out to being good. If you find yourself asking the question, why the protagonist did what he did, when he could have avoided the chaos, it was once said by an old wise man, "Duty is like a man's shadow." And if you ask why the elder brother did what he did, Wassermann, along with his siblings, the answer may be: hot wind is like the devil's breath. Osmoses ... Botis the Imp 1 It started off as a gradual unconscious process of assimilating, or absorption. As Wendell Wormwood awoke one evening from a nightmare, to find out, it was a real live demon espousing himself, like a sponge into his flesh, -sitting on his chest-as if it was in the process of demonic possession. The conjecture was to Wendell, that the demonic rapscallion, was in the process of a middle state, or phase of osmosis of his operation. Wendell continued to lay on his back as the terrifying creature sat on his chest, Wendell feeling the weight to be liken to a hundred pound sack of potatoes, and being no more the size of a bulky imp, resembling that of a miniature triceratops. The nose much smaller than his horn like ears, but widely spaced above his lips. Wendell lifted his head some as to see the creature more restored, he had a beer-belly as they say, brown and flabby, with pointed ears, as mentioned, like hooters, with chicken-like legs and hawk-like feet, and he was trying to slide himself completely in through Mr. Wormwood's pours, like sweat coming out. And his tail was long with a little shrub at its end, a pitifully thin looking lariat, in comparison. As he moved to center himself better, his tail got caught on a spring under the mattress and he tried like a: cow, sow, or hog stuck in barbwire trying to wiggle it free, and that was when Wendell woke up, and there before his eyes, lo and behold, was the netherworld creature called Botis, doing mêlée. "What in tarnation is going on?" yelped Wendell, eyes bigger than a car's headlights. He was in the path of amalgamation of course. It was no nightmare, alias, it was reality. His bedroom was rather small, too small to roll about in, so Wendell tried to pull, and push the demon out, by hanging over the side edge of the bed. Then sitting upright the invader pushed deeper beyond his forearm into Wendell's ribs, and it vanished. Wendell's eyes, seeing this, turned crimson. No one in the house could hear him beating on the chest of the demon to make him stop, or if they could, no one came to the rescue, for his screams were quite mortified, loud, yet who would dare? He was still tired and contemplative of if this was a dream or reality. "What malarkey is this," he exclaimed to the creature, looking straight into his stout ugly face that showed a mouth wider than his forehead, with a goatee that dripped from the edge of his bottom lip to the end of his neck, which ended up laying on his chest. It was most difficult to turn right or left in his present condition, which normally he slept on his sides, nonetheless he found himself rocking and rolling to which he fell onto his left side, after several tries, accomplishing it with a triumphal thump, shutting his eyes as he did from the horrid face of the demon that nettled him, yet still the demon struggled with his tail and you could see on his face a faint dull ache, with a cynical looking demeanor, evidently he had never encountered such a trial. "Oh Lucifer," cried the imp emphatically, but only a figure of expression for he did not want the attention of Lucifer, lest he be boiled alive for his ineffectuality, and slipup, "what a grueling job you've given me." Such was his work day, and throughout the night. It was better, he had told himself, on many occasions: 'It's better than the actual business in the warehouses of Tartarus, counting black sheep, day in and day out' which they called the new comers. Although his present job-earthbound-was constant traveling or worrying about if the subject was going to wake up, for seldom did they. Lo, all of a sudden, Botis felt a slight itching on his belly-button; slowly he let go of his left arm firmly attached to Wendell's shoulder, and as soon as he did, Wendell pushed the demon back nearly all the way out of him, which caused an impediment for the ungodly creature (there was no discourse or dialog between the two, and to be frank that tail was causing the imp to lose his repartee, likewise, Mr. Wormwood's wits where coming to its end, both now struggling without thinking). Quickly Botis identified the exact spot of the itch, and scratched it with his long talons, as thick and long as an owl's, and a cool and relief shiver run though him, and then he mumbled in a gibberish tone, "This getting one's tail caught in a bedspring makes a person look stupid," contemplating his comrades controversy should they find out in Tartarus, which they'd never see as a mishap, rather a screw-up, -for eventually he'd have to go back to make out his report, or better yet, his account, while sitting down around the breakfast table telling his story... (While everyone would be chewing on a good portion of fried cow guts. He knew this for a fact for they had century after century accustomed themselves to it, they said it was good for the memory, so the total health of the demon race of earthly spies, consisted in eating this cuisine and gulping it down like ducks do water was ideal for their health they believed... this was also said to disinfect their horrible breath! They also ate this until their bellies were tight, and their navel would pop out, agreeable for the long journey ahead. Then after picking their teeth with a pig's trotter, and their chatter was all complete, and the dice put away and the stock of cards hidden in some dry place, they'd go to work again.) anyhow, as I was saying, while sitting down around the breakfast table telling his story, that is to say, his encounter over and over to each and every one, to one another of his pals, his chums, his comrades in arms, whom would gossip like demon more often do, than not, and like: pile lie upon lie, invention upon invention, propaganda upon propaganda, like demon do until it is so unreal he'd become the pun and the laughing stock of Tartarus! While each one of his pals, and chums and comrades, would tell of their triumphs, 'I'd be sacked on the spot,' he told himself, 'if only I didn't have to scratch my bellybutton, who can tell?' But say what you will, thought Botis, what is done is done, he needed to remedy the situation, and do it quickly. Then Wendell aimed with his right fist at the imp's chest, and knocked the demon from end-to-end of the bed like a boomerang, falling eventually onto the floor, and one hand still on the end railing of the bed, hanging on for whatever reasons, surely not for dear life! His tail being released with a sudden jerk, and shredded from the pull and thrust of the tumbling over the end-edge of the bed. 'What a trying upset,' mumbled Botis, as if his pride was badly wounded, his composure and face in dismay. The clock read it was half-past three o'clock. Thus he figured it was still early enough to quietly move on from Wendell's house, and should anyone ask, who would be the wiser. So Botis, quietly leaped from his loss, leaped from the balustrade of the bed like a Bagdad thief in the night, with stammering lips, a sneer at Wendell, through the dim tears that bathed his face for such a screw-up Wendell could not see this of course, and all the better for Bois, save, by and by, he'd have something to boast; consequently, he seized the brimming windowsill with a cantankerous look, raised his strength up into the air with outstretched arms and then looked down as if towards Hell itself, bellowed with Machiavellian-eyes: "To you, ye gods hidden beneath the earth," expressing his surprise cunning at his escape, leaping into the broad moonlight. The weather piercingly warm, yet feeling somewhat fresh and active, trying to put on a pleasant look to his face as not to look suspicious to his employer, or one of those Secret Service Demon and Women (agents of the netherworld) of Tartarus, should he bump into one, such as the Viper Queen, as she was known, and Bit Bertha, both Machiavellian-demon-ness', otherwise known as the quadrilateral-sisters, whom were always looking for emoluments, for them to look the other way, lest they make a nasty report on him. Nay, what then? (it was game time, and I'll tell you what games they played if they got bored, Bit Bertha and Viper Queen, they played the old Tartarus games called: 'Slash and cut', or 'duck your head' or 'who's got the fatter arse' or 'catch and eat the brown beetle' or 'whip the sow,' or 'fork the toad' or 'who can spit thicker' or 'shooting feathered darts at cats and rat and dogs and hogs. And then they'd stretch and sleep) It struck the family members at the Wormwood home, that it had been quiet, too quiet in Wendell's room too long, as they had previously been conversing to one another for some time on if they should or should not become more aware of what was going on in his room, having been standing by his doorway, and previously pacing the hallway alongside the bedroom, much aware of some kind of commotion had taken place, although they were there when it was taking place also. They unconsciously exchanged glances... and one member asked loudly for Wendell to answer: "Is it safe to come in?" There was no answer, no reply, Wendell had fallen back to sleep, and the family members dare not open the door, err, they could wait until morning and let Wendell tell the story, as they had drummed up to support. Ah, it all was rather justification of their own phenomenal cowardice; all pretentious, it was an impediment of their character, where they had relied on Wendell for safekeeping, as they had always told one another, as well as for his monetary support "... we're in good hands with Wendell." Therefore to their amorous whispers, Wendell was left to his own, had been left to his own. All had the same obsession, all the same cynical smile, an expressible something or other, that appeared to be like a trial, something too trying to try, and so no one tried anything, and of course doing nothing, is doing something, which is allowing whatever took place to take place. And so they would wait for the results come morning, for the better or worse. At the Kitchen Table 2 Come Morning, Wendell looked about the kitchen table, among his three family members-a tinge impudent, and risqué, they all stopped what they were doing, bent their heads a shade-akin to know what took place, but shy to ask, they all looked to be a bit fatigued to Wendell, acting as if wanting to scatter themselves but Wendell seized the opportunity to exchange a few confidential words with them at which point, they unbolted themselves, and asked him to join them, their humanity more centered on commercial than the heroic story, the very one that took place but a few hours ago in the wee hours of the night with the demonic creature and his victory over him, and once told, they all felt relieved, saying in unison, "Ah, a nightmare, of course!" Now unrepentant of their cowardice idiosyncrasies they had displayed to one another, now thrown to the wind, laughed at as if it was a finely woven tale of dark linen, with a change in conversations to idiotic hearty maledictions, to oblige one another's choice in their decision not to have disturb Wendell during his trying nightmare. And now they applauded one another of their own independence, as if they had done Wendell some great service. For is it not true, in such cases there always remains in the conscience some of those dishonesties we pour into ourselves. It gives a better after-taste for one who is selling unwholesome liquor. Someone even made a joke of it, as if to throw a pun at Wendell's immigration, "Next time the demon will know better, to kill the lion before he skins him!" Said one voice to another: "My dear sister Woolycat, fill this up until it spills over, if you please." They all were drinking wine as red as a cardinal's cap, at the table. Wendell noticed a fly had just drank out of his older brother's glass, Wassermann, nonetheless it bothered him little, he simply shooed the fly away like a beggar who had stolen a coin from his pocket, and in one gulp the wine was gone. Aforementioned Wendell, with all earnestness, said he: "Spiders do not spin webs for a single fly, or do they?" (A rhetorical question, more a wistful statement) They twisted their body's some, one to another, gave each other faint glances, perhaps not grasping exactly what he meant by that, or perhaps they knew and were in contemplation over it. For had Wendell not been successful, they would have had to turn over a lot of stones to find the snake. And there Wendell stood, in the anteroom in repast, discerning: there was more honor in cleaning a stable clean, than warning them; for surely the imp was close by, and if he decided to come back as often they did, he would assuredly look and most likely find a new stockpile of flesh to store himself in. All said, Wendell, simply gave a nod with his head right to left, mumbled as he left the house (belief so sorely needed was not found, their caustic humor wounded him deeply... ): said he: "To those cowards who can't swim, no river is shallow enough" showing repugnance towards the group as he went out the front door, down the wooden steps, and on to work on an empty stomach, holding pent-up feelings of lassitude. In return, all the group gave back to Wendell was an air of bantering pity, a voice saying, "Ah, he is too sensitive!" Now walking down the street, Wendell inhaled the odor of the flowers in the nearby gardens, leaning his head on his shoulder with a look of sweet nothings. Their breath was no longer defused around him. And his soul was bathed in a wave of infinite triumph, as he stopped to read the newspapers which lay close beside him on an old man's newsstand. The old man Epistemon did not take the liberty of interrupting Mr. Wormwood, as to purchase the paper. Wendell noticed his embarrassment, and took out some change to purchase the paper. With a mixture of respect and dryness, the proprietor took the coins, in exchange. Wendell had always thought himself to be a prohibitionist, for country and family before anything, even if one must set up an embargo, but now he was ruling that out, there was residue of pessimism, especially for the likes of his domestic life.

I was just looking at things today and comparing them to the way they were when I was young. One of the things I have a strong memory of was the time a friend of mine was telling me he read in a magazine there was going to be pay television. I almost split my sides laughing as did everyone else he told this to. In those days there was a television in most homes, but this had just occurred a few years before. The idea of pay television sounded so ridiculous to everyone, no one took it seriously. Can you imagine what people would have thought about pay radio? Radio had been free for almost 60 years by then and nobody at that time would have believed some people today pay for radio broadcasts from companies like XM Radio. Another thing they would have never believed is the prejudice against smoking today by most of the population. People back then had no idea cigarettes caused cancer, even though the cigarette companies already knew this. Cigarettes were readily affordable and cost about 25 cents per pack and if someone wanted to save money they would buy a pouch of tobacco with cigarette paper and roll their own for only 10 cents. We were encouraged to smoke and when I was in the army many times we would be given free cigarettes by charitable organizations. You weren't supposed to smoke if you were under 18 years old, but we all did. I remember one time when I was 16 years old I was sitting on a hill in a park and a plain clothes cop saw me smoking and ran after me and I took off running down the hill and over several fences. The poor guy was far too heavy and almost collapsed, before he gave up the chase. When I was about 20 years old I bought a new Chevrolet Impala. It was the top of the Chevrolet line at that time. It had a V8 engine and a two speed automatic transmission. The only power accessory it had was power steering. It also came with a radio and the optional defroster for the rear window. My how things have changed. Today cars come with everything including lane warning devices, backup cameras and radios with ten speakers. There are even power windows on some of the cheapest models. Some of the new Chrysler Corporation cars now have nine speed transmissions. My Impala only had a passing gear that went out after 55 miles per hour. The horse power of the engines were overestimated in the old days and it is not measured the same way today. The Impala claimed to have 170 horses, which might be about 130 today if you were lucky. We had no Internet of course, because we had no computers. The way one got their news was from the radio, the newspapers or from Movietone News which was played with films at the movies. Some of the newspapers came out three times a day. In school sometimes you were asked to bring in a newspaper to be used in the lower grades to help kids read. The paper of choice with the teachers was the New York Times. Many of the newspapers from that day are gone. In New York City you have papers like the Journal American and the Herald Tribune, two famous papers no one from that time would have believed would go out of business. When I was a tot the iceman used to come around using a wagon pulled by horses. Most people didn't have refrigerators and had to have ice delivered for their iceboxes. The poor guy might have to carry a 20 cent block of ice up several stories and it was heavy. He would put a burlap bag on his shoulder, grab the ice with tongs and hoist it up there. There were other wagons pulled by horses which also used to come around. There was the rag man who might give you a few cents for a bundle of rags and the vegetable man who would sell veggies off his wagon. Wagons are a thing of the past, but they were colorful. I always wondered where these people kept their horses. If you were caught committing a crime it made the newspapers, even if it was what one might call a petty crime today. Everyone in your neighborhood knew what you did and the relatives of these criminals were humiliated. People would avoid you. Today no one seems to care anymore. One of the biggest disgraces happened when a man moved in with a woman and they weren't married. Today most people think nothing of this anymore. Morals were a lot different then. I remember a movie being condemned by the Catholic Church because someone in it used the word virgin to describe a woman. There was no nudity in movies and it took them a long time before they even would show a twin bed in a bedroom. They usually only showed single beds. I know this sounds silly by today's standards, but people didn't think the same about things then. Pinup photos were considered pornography, so artists would draw pictures of pinups. This was considered art under the law. When kids got in a fight in school it was one on one, not one against seven or eight. My uncle used to tell me to never let anyone push me around and if they tried I should punch them in the nose and they would leave me alone after that. If you did this today you would get suspended, even if you were the one being bullied. Things have really changed. Sometimes for the better and sometimes for the worse. Many kids can no longer write in the cursive. I think this is from too much texting. Handwriting is becoming a lost art. I also think a lot of the abbreviations used in texting will become part of the English language and someone born today might not recognize some words and phrases from the past, because they will be replaced by people saying things like LOL (Laugh out loud). For what it is worth my opinion is many of the movies have gone too far in depicting sex, many times it doesn't even fit into the story. Maybe it is time to rethink about some of the old values.

Many people admire the beauty of calligraphy and enjoy doing calligraphy, and it is no wonder why they do. Calligraphy is a wonderful outlet for artistic expression and also a deeply satisfying personal skill. But... One common remark is "That calligraphy piece is so beautiful, but I'll never be able to learn it." That can't be further from the truth. Calligraphy is simple, fun and easy to learn if you know the exact steps to take. This article will teach you how to learn calligraphy by just following this simple, proven 5-step method. But First, Which Calligraphy Hand Should You Learn? Before we start, you have to first decide the calligraphy hand that you want to learn. There are many calligraphy hands: Spencerian, Copperplate, Italic, Gothic etc. and each has it distinctive style and characteristics. However, it is strongly recommended that you start out with the Italic Hand, because: It is very versatile - it can be adapted for a more contemporary modern look, or written in a more classic style. It has dynamic, rhythmic strokes Can be used for almost any occasion - addressing envelopes, wedding invitations, cards to friends, creating art pieces, etc. It is easy to learn, unlike other styles such as Copperplate or Spencerian. It is highly engaging and learning Italic calligraphy brings medititative pleasure These are the reason why many people around the world have chosen to learn italic calligraphy, and you will find this article exceptionally useful if you want to know how to learn Italic Calligraphy. However, that being said, you should choose a hand (style) which you like or wish to learn. If you decide to learn Italic Calligraphy, the following 5 simple and proven steps will be particularly useful in showing you how to learn calligraphy. Here are are 5 proven and effective steps that you can take to learn calligraphy quickly and easily. Step #1: Gather Your Supplies Before you start with anything, the first thing you've gotta do is to gather your supplies. The supplies needed to write or learn calligraphy are simple and inexpensive. This is a list of recommended supplies: 1. Calligraphy pen (broad-edge nib) 2. Paper 3. Pencil 4. Ruler 5. Eraser Step #2: How To Hold Your Pen With your supplies in hand, it's time to move on to step #2. Once you have the right tools, you can start practicing how to hold your calligraphy pen correctly. You should ensure that it is always held with the nibs point away from your body, upwards and slightly left. Keep it at a 45-degree angle constantly. Once in awhile, you may realise that you have the pen slightly a little to stay comfortable, and the angle is no longer at 45 degrees. That should be fine, as long as it does not go past the 35-degree mark. However, the optimal angle is still 45 degrees. If you want to create a thick line, you will need to use the wider part of the pen, do the opposite to create a thinner line. You should be able to do this by holding your pen firmly in a 45-degree angle: You must remember this point because if you do not get this right you will NEVER be able to write beautiful calligraphy (no I'm not exaggerating). Step #3: Letter Formation After learning how to hold your pen and understand how to wield it, you are ready to move on to forming the calligraphy alphabet! Also, always pay attention to your pen angle - always keep it at 35-45 degrees to get the most desirable effect. Also, it would help to have model examples (exemplars) of how letters should be formed. Find an exemplar, then copy and trace the letters shown in that exemplar for practice. You will see yourself improving fast. It is also recommended that you create your own calligraphy rules when learning how to form the letters. They keep your letter size consistent and even - bid goodbye to uneven, chaotic calligraphy! Practice rules generally consist of 4 lines - the ascender line, waist line (or x line), base line (or writing line) and the descender line. These lines are typically separated by a distance equivalent to 5 widths of the pen nib that you are using. When you learn calligraphy and practice your letters, calligraphy guidelines ensure that your letters are of a consistent size. You will find that they are a great deal of help in your practice. Step #4: Keep On Practicing! If you want to learn calligraphy, you've got to practice. There is no way round that; there is no shortcut that takes practice out of the equation. However, if you follow these 5 steps and practice accordingly, you'll be able to create your very own calligraphy masterpieces in no time at all. There are 3 important things to note in this step: Always pay attention to the way you are holding the pen. This way, you'll always get the thicks and the thins of each letter right. Make sure that you are holding it firmly with the nib to a 45-degree angle and let the pen do its magic. Don't stop in-between strokes. When you make a stroke, finish it all at one go. For example, don't make a long "l" by joining a few shorter strokes. Take it slow. Thinking of "writing" calligraphy as "drawing" instead will help you a lot in your learning calligraphy. 'Draw' each stroke and focus on drawing a perfect stroke. You will be amazed at how this small paradigm shift makes a huge difference in your calligraphy. Step #5: Correcting Your Errors and Perfecting Your Craft You've got your basics, you know how to form letters, and you're practicing hard. Can you now create beautiful calligraphy pieces or crafts worthy of being gifts? Possible, but probably not yet. You need to get to the last step - which is learning to detect and correct the errors in your calligraphy. This is the part where you learn to become an independent calligraphy who is perfectly capable of coaching himself. You know exactly what a beautiful calligraphy piece is like and how to create it yourself. In the course of learning calligraphy, you will make mistakes. How fast you are going to learn calligraphy will depend on how fast you can detect these mistakes. Many beginners waste lots of time and effort practicing without knowing that they are doing it wrongly. So if you want to save time and spare yourself all that unnecessary frustration, it is very important that you are able (or have someone help you) to identify your mistakes early so that these mistakes do not turn into habits in the future. Avoiding an error is so much easier than unlearning it once it has become a habit, so make sure that you detect and correct those errors early. There are many types of errors that you can make in calligraphy and there are always the common few that beginners make. One example would be the arches of "m" or "n" being too rounded. Summary To recap, here are the 5 steps: Step #1: Gather your supplies Step #2: Learn how to hold your pen Step #3: Learn how to form letters Step #4: Keep on practicing! Step #5: Correcting your errors and perfecting your craft Now that you know the 5 proven steps to take and how to learn calligraphy in the comfort of your own home... All that's left to do is to practice, practice and practice! Before you know it, you will be able to write beautiful calligraphy. Knowing how to learn calligraphy is not all that difficult at all!

We're accustomed to commemorating national holidays and ringing in each New Year with big, impressive fireworks shows. But have you ever wondered how this dangerous, artistic light show came to be? The most primitive form of pyrotechnics emerged as early as 200 B.C. in China. People there discovered a natural firecracker in bamboo, which explodes with a loud bang when heated. A technology much closer to our modern devices didn't come about until the seventh century A.D., when Chinese alchemists accidentally created gunpowder by mixing sulfur, charcoal, and saltpeter. When people stuffed this mixture into a bamboo shoot, then tossed the shoot onto fire, it produced a bang and a flash. Voila: fireworks were born. Over the next few centuries, the Chinese refined this crude new technology, stuffing explosives into paper tubes, making bombs out of gunpowder, and even developing the first basic rockets. These were mainly used against enemies in battle, but were slowly incorporated into celebrations of military victories and religious ceremonies. A profession developed around this technology, with early pyrotechnicians developing more elaborate shows and techniques. As different cultures started synthesizing their own gunpowder, pyrotechnic devices started to spring up around the world. In medieval England, pyrotechnicians were dubbed "firemasters," and developed light shows for public entertainment. By the time of the Renaissance, schools existed across Europe to teach aspiring fireworks artists their craft. Europeans brought their technology and techniques with them when they ventured to the New World. There's evidence of a display in Jamestown, Virginia, in the early 1600s, among other records of colonial pyromania. After America broke away from Great Britain in 1776, firework displays took place all year long to commemorate the young nation's independence. It wasn't until 1830 that Italians used new combinations of metals to create the kind of multicolored blasts we're familiar with today. Firework clubs, associations, festivals and competitions started occurring around the world, with participants dazzling audiences with rockets, waterfalls, Catherine Wheels and other innovative devices and techniques. But it wasn't all fun and games. With a spate of amateurs setting off rockets and firecrackers, regulation couldn't be far behind. Concerned U.S. citizens in the 1890s formed the Society for the Suppression of Unnecessary Noise, targeting pyrotechnicians and their "peace-disturbing" devices. This set a precedent for the tight regulations on explosive devices that exist today. We've come a long way since the days of bamboo shoots and gunpowder. In 2014, a display in Dubai broke the Guinness World Record for largest fireworks show. Over 500,000 devices were set off along a 58-mile stretch of coastline to ring in the New Year, creating a massive, breathtaking show that incorporated many of Dubai's landmarks.

Accountability isn't really something most people voluntarily sign up for. Thinking about it will make us cringe a little and make us feel like children being berated for not turning in our homework. But if we are really honest with ourselves, there is at least one area in our life where we need some serious accountability. Accountability helps us to follow through on our commitments and it also gives us integrity. People who are held accountable are more trustworthy and more self-aware. They are the people who actively pursue self-improvement and growth in their lives. Accountability involves conflict There is probably only a very small amount of people who run toward conflict. The rest of us do our best to stay away from it. With accountability, a person kind of has to get in the middle of conflict. If someone isn't following through on their commitments it might be hard to pull them aside and remind them that at the end of each week they have to submit a certain report. It's even harder for a person to hold someone of authority accountable for their commitments. Accountability requires discipline Let's be realistic... are we really going to hold ourselves accountable consistently? Probably not. Think of how many times you decided not to go to the gym because you forgot your ear buds at home. Or how about that time you said you were going to wake up 30 minutes early every day to help you get a jump start on the day. How long did that last? Accountability is much easier when you have other people holding you accountable. Accountability hurts our pride It's hard to admit to other people, and even our self that we were wrong or that we let someone down or that we didn't follow through with our promises. It just seems easier to lie than admit we didn't follow through with our commitment. For some people, accountability is more about staying away from guilt and shame. So, instead of understanding the importance of following through to reach their goals, they are acting out of fear. How to make accountability work The best way to make accountability work is to 1) acknowledge that a lot of personal growth comes out of accountability and 2) have a circle of influence who will actually hold you accountable. Each person should have the goal of personal growth and becoming a better person. This can involve reading more, creating to-do lists to make them more productive, or having someone to hold them accountable. Everyone has a circle of influence. We may not call it that, but it is the people around us who are close to us and who we trust have influence in our lives. A great circle of influence wants to see you grow and succeed. They want what is best for you. They are the people who hold you accountable. One of the greatest benefits small business owners receive from coaching is the accountability. It's easy to make a plan, and you may even make a few dents in it for a week or two, but after a few weeks you may start making small excuses to not follow through. Those small excuses will eventually become big excuses if you are not being held accountable. Small business owners who have a coach are more determined to follow through on their commitments because they have someone who cares about their growth and success and will actually hold them accountable.

Numerology can be best, and most simply explained as the study of numbers. But the simplicity ends there. To the occultist, numbers reflect more than quantity and are indicative of the nature of the cosmic plan of the universe. The letters of the Latin alphabet have a numeric value which can be deciphered to reveal relative cosmic vibrations. Chinese and Arabic civilizations have their forms of numerology as well. The added numbers of a date of birth when related to the numeric value of the letters in a name can illustrate some arcane interrelations that can be deciphered by an experienced practitioner. The number produced by an individual's date of birth and numeric equivalent of their name can illustrate details about character, life direction, motivations and talents. Expert numerologists can use these numbers to make predictions as well as decide on the best moment to embark on an adventure, when to marry (and if you and your finance's numbers work well together) and how many kids would be the perfect number for you. Many people turn to numerology to provide guidance in their lives. Not only can understanding the numbers in your name and birth date tell you more about who you are, but it can help you understand who you are truly meant to be. This knowledge can give you the confidence you need to undertake new challenges or to pursue your dreams. You can think of it a bit like a road map for your life. By giving you a direction to follow, numerology can help you reach your ultimate destination. How Did All This Begin? Numerology as a study began many years ago around the same time the Greeks were working on their numerical system and making astounding progress in the field of mathematics. Pythagoras, who most of us remember from grade schools mathematics, is widely considered the father of numerology. However, evidence of numerology preceding the Greeks is out there, namely in elements of the Hebrew culture. Other historical evidence also points to even earlier use of this practice in China and other Eastern cultures. Does Numerology Actually Work? This is a question that is best decided by the individual. It is obvious that numbers rule our lives, but to what extent is still inconclusive. However, the fact that civilizations separated by space and time all came up with same idea is a fascinating point. Proof of numerology or that all humans think the same way? You decide.