Against Closed Eyes In Marketing

Three Little Important Words

Three little, important words, are all I have to say,
Three little , important words, mean more to me each day.
Three little, important words, have lasted all my life,
Three little, important words, just for my darling wife.
Three little, important words, simple but so true,
Three little, important words,simply I LOVE YOU !

Love While Apart

How I long, to be with you,

And how my heart does bleed.

My love for you, burns deep within,

An all-consuming need.

My love for you, is still as strong,

As the day when we first met.

And, as we, go through life, together,

The stronger it will get.

Being away from you, tears me apart,

I can hardly bear the strain.

I’m just longing for that day to come,

When you’re in my arms again.

The days drag past, so slowly,

It seems so long to go.

Until I’m with you, once more, my love,

I really miss you so.

I know sometimes, I’m not much fun,

When I’m there with you,

But, just know this, my darling,

My love for you is true.

Simply Love

I can feel small electric pulses,

Running up and down my spine.

Like myriads of icy fingers,

Each time your lips touch mine.

I could fall into your dark brown eyes,

And swim in their sparkling tears.

I just want to take you in my arms,

And chase away your fears.

I can’t describe the love between us,

Simple words aren’t enough to say.

I just know my love for you,

Grows stronger every day.

My passion is like a locomotive,

Thundering down the track.

Since that day that I first saw you,

There has been no turning back.

You’ve brought joy into my world, sunshine to my life,

Since that fateful day, when you became my wife.

I really have been blessed, by someone up above,

The thing I have for you, my darling, it is simply love.

Through the years, it’s just grown stronger,

This love I share with you.

What more can I say, my darling

Than, simply, I love you

John Roberts is a Freelance Training Consultant Trainer in the UK. Always open to discussion regarding training and training techniques, contact John by email.
John is a prolific writer and publisher of Training and associated technical articles, as well as poetry and childrens stories. http://www.jayrconsulting.co.uk

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FIND the MAGIC

Find the Magic
As you release old bondage
Come out of hiding
And see the stars

Find the Magic
As you expose the pain
Let the tears flow
And find beauty in your body

Find the Magic
As you scream from the beating
Run from the threats
And feel the warmth of a hug

Find the Magic
As the little girl is silenced
Told she is too smart for her own good
And she finds her place of honor as she speaks her mind

Find the Magic
As the ghosts creep into dream
Haunt your daily life
And you meet them at the crossroads and move on

Find the Magic
As you drift out of your body, avoiding the anger
Observe the separation
And you join the body temple once again to rejoice in this unique wonder

Find the Magic
As you listen to the conflicts and
Watch in horror
And emerge from the water whole and beautiful in a rainbow of colors

Find the Magic,
For you are whole once again

© 2004 Susan Bacon

Susan Bacon is an researcher, teacher and author. Contact her through her web site http://www.ecoentrepreneur.org

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Hammers. Timbers. Iron. Steel.

They’re laying down a mighty keel.

As ant-like workers scurry round

I hear a truly riveting sound.

And as she rises midst the swarm

I see the beauty of her form.

(He has no soul who cannot see

How I am forced to call her “she”.)

And then, ‘a sudden, she’s a ship!

She waltzes down that mighty slip.

Then, in the water, no splash, mind,

This lady floats. Oh! How refined!

Southampton docks: I want to feel,

And touch, and taste the British steel!

Palatial, and stately too.

(There was no like in Xanadu.)

The passengers, the crew, all we

Are safe aboard, so out to sea.

The cheers, the midget well-wish fleet,

That siren deck beneath my feet!

A jewelled city, in the night,

From shame, the very stars took flight.

Her mighty speed seemed but a creep,

So steady that she seemed asleep.

Indeed the city slept. A few

Remained awake, they mostly crew,

To feed the rav’nous boilers’ maw,

To bake the bread, sort mail, and more.

I almost dozed and wished my bed,

But:

“Iceberg!”, “Iceberg! Dead ahead!”

With straining engines, spinning wheel,

She strove to swerve her awesome keel

And almost, almost, but, not quite –

A straining shrieking rent the night

And rent her hull. (I took no fright.)

‘Twas but a glancing blow”, I think,

She will not, cannot, must not sink!

But down below the decks, unseen:

In sneaks the ocean cold and keen.

And as up each steel wall it grows

It reaches top, and overflows.

Boats are lowered. Ah! Sad few.

“Women and babes first!”, shout the crew.

A panicked man, in dressing-gown:

“My God! My God! She’s going down!”

“Nearer my God, to thee how near”.

The band plays on, to calm the fear.

“You’ve done your duty, lads, now go.”

But does the music stop? Oh no.

A fervent prayer to He who saves

As down she slips beneath the waves.

The silence!

Then those dreadful screams.

(I sometimes hear them in my dreams.)

Next morn, upon that sorrowed billow

A wreath, a chair, a toy, a pillow.

No souls, the souls are all asleep.

I stand in silent prayer, and weep.

Patrick Lockerby - March 2005

Born 1946, London, England.
Grammar-school educated.
Retired engineer.

Interests:
Anything at all to do with language & linguistics, esp. –
poetry, prose;
natural language processing;
control and communication in human systems;
law, lies, logic.

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All is still; all quiet;
The world seems to be at peace.
My soul is singing its rhythmic melody
And I’m led like in a trance to write its tunes.
The lyrics are for you.
The essence of friendship.

I have what so many people in this world
Yearn so desperately for: a friend.
A friend who’s closer to me than skin
And worth more than life itself.

You have shared in my pain, as has no other
And touched my wounded spirit
With tender expressions of compassion.
Your heart bled when you felt my grief;
Your empathy and sensitivity
Transmitted affection no words ever could.

Your unfailing loyalty has been inexhaustible,
Regardless of what it may have cost you
Personally.
You have made great sacrifices
On my behalf
Unconditionally.

You accepted me as I was and am;
Appreciating my strengths,
Challenging my weaknesses,
Guarding my vulnerabilities,
Accepting my imperfections,
Valuing my humanity.

You have buttressed the arrows
People often shot in my direction;
Willingly absorbing suffering
Meant for me.

Adversaries tried to put a wedge between us
To no avail;
Our friendship too secure,
Our commitment too strong

Our friendship has been tested
In so many diverse ways,
But we have a love and strength of will
That refuses to let go.
Though sometimes charred, we healed,
And discovered a closer union in the process.

I’m possessive of our friendship
Because I know how rare it is
And how difficult to find
And keep.

You have earned the greatest title
That can be bestowed
Upon any human being.
The title of: Friend.

In friendship honor of Marjorie K. Thomas

Rev. Saundra L. Washington, D.D., is an ordained clergywoman, veteran social worker, and Founder of AMEN Ministries. http://www.clergyservices4u.org She is also the author of two coffee table books: Room Beneath the Snow: Poems that Preach and Negative Disturbances: Homilies that Teach. Her new book, Out of Deep Waters: My Grief Management Workbook, will be available soon.

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For those who love to collect inlaid music boxes, musical jewelry boxes, ballerina music boxes, and antique music boxes such as disc driven cylinder music boxes, musical snuff boxes, and the like, there are many things one can look for when it comes to finding the perfect box. However, there are distinct characteristics that cause some music boxes to stand out above others. These are materials, decoration, and the date of the music box.

Materials

All music boxes are not made the same. The type of material a carousel music box, wooden music box, inlaid music box, or an antique music box is made from is what helps to create its uniqueness. For example, in the early 19th century, musical snuff boxes were made of inexpensive material from the precious metal family such as gold and silver. There were also some music boxes made of brass, which back then, was rare.

Other musical boxes such as snuff music boxes were made from wood, horn, and tortoiseshell. Wooden snuff music boxes, made from material such as burr oak and burr walnut were very beautiful. Boxes made amboyna wood, which originates from Amboyna Cay, a small island in the South China Sea, were also gorgeous. For those collectors who love to collect wooden music boxes, finding a box made from one of these materials would make a wonderful asset to their collection.

Decoration

Music jewelry boxes, inlaid music boxes, children’s jewelry boxes, and other types of antique music boxes are all decorated differently. The type of decoration a collector of music boxes seeks is based on personal preferences. Some music box collectors might enjoy early 19th century music boxes since many of the lids were used for decorations. For instance, the lids of many musical snuffboxes were done with miniatures painted on ivory. For a music box collector, finding one such as this would be quite a prize. In Music Boxes: A Guide for Collectors, David Tallis suggests that “A good artist to look for is Charles-Claude Delaye, who worked in France in the first half of the 19th century. One of his miniatures on a music snuffbox is fitted with a gilt copper frame, and a bevelled glass. . . If you are lucky you will find a musical snuff box whose lid has been decorated with Italian miniature mosaic. They are the most skillfully made and not too common. If you are even luckier, you will find one with a Swiss enamel miniature on the lid.”

Careful research, time, and patience most likely can assist a music box collector in finding a music box whose decorations they will fall in love with.

Date of the Music Box

There are specific things a music box collector should look for when they try to assess the date of a music jewelry box, inlaid music box, ballerina music boxes, carousel music box, and other antique music boxes. A collector must carefully study its design. Once more, author David Tallis says that “Strict rules cannot of course be made, but if features of design indicate a period which is confirmed by the type of box and choice of musical programme, a fairly accurate guess can be made as to the date of the manufacture.” Examples of what collectors can look when trying to date a music box, as outlined by Tallis are as follows:

Laminated comb: 1796-1810 Sectional comb in groups of 1: 1796-1820 Sectional comb in groups of 2: 1810-1820 Sectional one piece comb: 1820 onwards

Other features to look for when assessing the date of a music box include ascertaining is a cylinder is hollow or without wax. This gives a music box a metallic tone and means the box predates 1820. These are just a few examples of what collectors can seek. If a collector wants to know for sure the date of a music box, Tallis says that ” There is only one way to be completely certain about the year of manufacture. If the box is silver or gold and English, it will have a hallmark which can be looked up in an invaluable book called “Guide to the Marks of the Origin of British and Irish Silver Plate”, by Frederick Bradbury. This booklet shows all the hallmarks of the major assay offices from the mid-sixteenth century to the present day. Other books recommended by Tallis are “Silver Collecting for Amateurs” by James Henderson, “Hallmarks on Gold and Silver Plate” by W. Chaffers, and “Les Poincons de Garanties Internationaux pour L’Argent” by Tardy.

Lastly, Al Meekins, owner of the Meekins Music Box Company in Collingsworth, New Jersey has this advice to give for those music box collectors who are seeking the ‘Stella’ or ‘Mira’ box. Meekins says: “Look for a quality-a machine that isn’t too badly worn and is in restorable condition”. In addition, a purchaser can check for the craftsman’s initials, which can be found at the top of the cap, on the tune card, or on a plaque on the music box.

Many lovers of collectibles enjoy collecting antique music boxes, wooden jewelry boxes, music jewelry boxes, and inlaid music boxes. Finding the right one to start a music box collection or to add to an existing one can certainly be done. Follow the above tips and start a collection today.

Copyright 2005 Monique Hawkins

Monique Hawkins is the owner of the online store http://www.my-music-Box.com/, a music box gift store specializing in products such as inlaid ballerina music boxes for ballerina rooms décor, whimsical carousel music boxes, and musical jewelry boxes. The company provides interesting information for music lovers of all ages. Monique is also the author of the blog “What You Never Knew About Music” http://whatyouneverknewaboutmusic.blogspot.com, and owner of the eBay store “Monique?s Music Box” at: http://stores.ebay.com/moniquesmusicbox/

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We all have a need for a container to hold our “stuff”. Whether it’s pens, scissors, paper clips, notes… you need something to hold it all. And you want it to be attractive and match your home decor.

Well this little bag is the perfect accessory for your desk or kitchen counter. Make it out of left over fabric from your curtains or seat cushions and you now have a decorative junk holder that harmonizes with your room!

Follow these easy step by step instructions to complete this simple sewing project.

You will need:

Sharp scissors
Fabric for the outside of the bag (17 3/8″ x 9″)
Fabric for the inside of the bag (17 3/8″ x 9 3/8″)
Thread to match your inside fabric
Straight edge ruler
Seam ripper
Instructions

Step 1. Cut both your fabrics to the dimensions listed in your supply list above

Step 2. Fold your outside fabric crosswise right sides together, aligning raw edges

Step 3. Sew along the side edge and bottom edge with a 3/8″ seam allowance. Backstitch at the beginning and end of your stitching.

Step 4. Fold your inside fabric crosswise right sides together, aligning raw edges

Step 5. Sew along the side edge and bottom edge with a 3/8″ seam allowance. Backstitch at the beginning and end of your stitching.

Step 6. Stitch about an inch of stitching and backstitching on both sides of 2″ on the bottom stitching line you just did in the step above.

Step 7. Remove the stitching in between the stitches made above with your seam ripper. You now have a 2″ hole in the bottom seam

Step 8. With your outside fabric, align the bottom seam with the side seam… keep the top raw edges aligned… and flatten the fabric. You will have a diamond shape. Do the same with the inside fabric.

Step 9. Measure down from the tip 1 5/8″ along the stitching lines and mark. Repeat for the other side. Do this for both fabrics.

Step 10. Sew across the tip at each mark made above. Make sure the seams are pressed open when you sew across them.

Step 11. Trim off the tips (optional)

Step 12. Turn the outside fabric bag right side out and insert it into the inside fabric bag (which is still wrong side out). Align the side seams and top raw edges. Pin around the top edge.

Step 13. Sew a 3/8″ seam around the top edge. Make sure the seams are pressed open when you sew across them.

Step 14. Pull the outside fabric bag through the 2″ hole of the inside fabric bag.

Step 15. Close up the hole by either hand whip-stitching it shut or stitching on top with a straight stitch. This is going to be on the inside of the bag, so it doesn’t have to be perfect.

Step 16. Tuck the inside fabric into the outside fabric bag.

Step 17. Pull on the inside fabric bag so that 1/4″ of the inside fabric show on the outside. Pin in place

Step 18. Stitch around the top edge of the bag close to the seam to hold the lining in place.

Step 19. Fold the top edge over.

Visit http://www.simplesewingprojects.com to read this article with detailed diagrams and photos.

Wasn’t that easy! This is a perfect sewing project to work with a teen or child on.

You can also dress this bag up even more with sewing embroidery on the front of the bag or appliqueing a design. Consider using a decorative stitch along the top edge before folding it down. Or add fringe to the top edge. You would add the fringe in step 13.

Happy Sewing!

Jennifer Thoden

To discover more free sewing projects, expert sewing tips and exciting decorating ideas, visit http://www.simplesewingprojects.com.

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The darkness was so dark
It was felt
The worst gross darkness
Is religious captivity
Soulish enslavery
And financial drudgery
For all bowed their knees to Rome
Until a German
A former Roman Catholic monk
Said, “No!”
And stood up to the religious hierarchy
Declaring truth boldly
In the midst of moral depravity
Such a stance
Could cost one his life
“Off with your head!”
“You cause heretical division and strife.”
For in that day
Only the pope was right
Yet Luther heard a word
That he could not shake
Saying, “The just shall live by faith!”
Therefore down with indulgences,

Penance and purgatory!
I need not go to a priest
To confess my sins.
For Jesus died on the cross
Once and for all
Mankind wins!
I can go to God myself
I can approach my Creator directly
No need for a mediator
Or one named Mary
My soul is free
No burden to carry
What Hitler did
Has come and gone
But the truths Luther established
They live on!
The truth keeps marching on
From generation to generation
The Spirit illuminating and confirming the Word
We the soldiers of the cross
Wielding the two-edged sword
The sword of the Spirit
All humanity shall hear it!
And so humanity benefits daily
From one man’s stance against heresy
Though he himself was branded a heretic,
A mad man, a drunk
Luther not only shook their religious boat
It he sunk!
And so a new gospel ship
Has been built for us
Though eternally of old
It does not whither, decay or rust
Forever saving those who believe and trust
Ever enduring is this gospel message
Availing fully for those who dare
Throwing aside every weight and care
What a joy it is in our day
When men like Luther can be found
To bring the blessings of heaven down
Yet a slow to hear society remains
Humanity’s deception and need is dire
To be moved upon and freshly inspired
With godly passion and fire!
For a new and living way has come
And with it, a new generation must arise and run!

Paul Davis is author of Breakthrough for a Broken Heart a book telling us “How to overcome disappointments and blossom into your dreams!” Paul is a mediator, negotiator, interrogator, life coach (relational & professional), popular worldwide keynote speaker, creative consultant, explorer, liberator and dream-maker.

Paul’s compassion for people & passion to travel has taken him to over 50 countries of the world where he has had a tremendous impact. Paul has also brought revival and reconciliation to many in war-torn, impoverished and tsunami stricken regions of the earth. His nonprofit organization Dream-Maker Ministries is building dreams and breaking limitations.

Paul’s Breakthrough Seminars inspire, revive, awaken, impregnate with purpose, impart the fire of desire, catapult people into a new level of self-awareness, facilitate destiny discovery and dream fulfillment.

Paul next book God versus Religion will soon be available on his website.
Paul can be contacted at: RevivingNations@yahoo.com
407-967-7553; 407-282-1745
http://www.CreativeCommunications.TV
http://www.DreamMakerMinistries.com

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The Settlers of Catan has been the flagship for German Style Designer Games for many reasons, some of the main ones being its elegant simplicity and its depth of strategy. Your choice of strategies will influence your initial setup and overall game play. The separation of strategies that are outlined in this series is a bit artificial, but it is useful to understand the concepts behind them. In practice, players will use a combination of these strategies during gameplay. This article, the fourth in this series, will discuss the Monopoly and Cartel Strategies.

The Monopoly and Cartel Strategies are strategies to gain either exclusive control (monopoly) or shared control (cartel) of a particular resource, usually ore or brick as they have the fewest number of hexes in the basic game (three, versus four of all the others).

First, the Monopoly variant, to gain more or less exclusive control. It is usually attempted by trying to control all of the good hexes (usually just one) of a resource by yourself. It seldom works. The major problem with this strategy is that the robber almost always sits on the monopolized hex. As you are the only person on that particular hex, the robber will stay there until YOU get it off (or a seven is rolled), unlike shared hexes. Also unlike shared hexes, every player EXCEPT YOU considers that hex to be fair robber placement territory, especially since they want a chance to grab that monopolized resource from your hand.

A potentially better way to try the monopoly strategy is to let other players surround the best hex of that resource, and to go for the two less marginal ones (in the case of ore and brick). Then try to place the robber on the good hex throughout the game. This has the advantage of being able to place your initial settlements away from the rest of the crowd. You will need a lot of knights, to get the robber off of you, and onto the best hex. This would be good combined with the Card Builder strategy (to get the knights), especially if you are trying to monopolize ore or wheat.

If someone in your group has the nerve to try a monopoly, it will become apparent very soon, probably in the initial setup. You can use this to your advantage by remembering that ports have just become more valuable real estate, and by using the monopoly player as a lightning rod for other players aggression instead of you (and drawing people’s attention off of your own designs.)

The Cartel variant. Basically, this is a strategy to share control of a particular resource in order to reduce the problem of the robber in a monopoly, but to make sure that you are the dominant player in that cartel. In this variant it is only necessary to control most of the resource. For example, if you control two out of the three settlement locations on a good hex of a rare resource. The other player will work just as hard to keep the robber away, but will only collect half as much. This is most common on a good ore hex. Another way this can be done is by having majority access to several hexes for a commodity for which you have a port. The other players can’t keep the robber on all of them, and will probably just keep it on your prime hex. Sheep and wheat are most typical of this kind of cartel, because they are not the commodities that people usually target during initial placement. Note that this is very similar to the Common Resource Strategy.

Similar to the Monopoly variant, you will need a lot of knights to keep the robber away, and preferably on your opponents most productive hexes, or on a resource your opponent has a port for (so they can’t trade easily for your resource). In this way, if you find yourself in total control you can make really good trades. Depending on your group, you can make 3:1 trades if people are desperate, and even turn these down if you are ahead, and force them to make 4:1 bank trades.

For more information about the game, please visit the author’s Settlers of Catan fansite. This series is based upon the Settlers of Catan Strategy and Tactics Guide, which is located at http://settlersofcatan.blogspot.com

Dan Kozarchuk is a self admitted board game junkie who has an obsession with designer board games, particularly the Settlers of Catan.

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As I picked up some of the polished gemstones in the rock store I began to think about what the stones looked like before they were polished. The store had several rocks on display showing the before and after and I realized that unless you knew what you were looking for, you could easily pass by a valuable gemstone. I also thought about how many times we pass by someone because they look “ordinary” and what we might be missing because we don’t get to know their “inner person”. Thus this poem.

Stones

Like stones in a polisher
We are tossed to and fro,
bouncing off each other
while wearing off our rough edges.
Sometimes the sharpness may hurt others,
sometimes we are the ones being hurt,
but as our edges become smoother,
our surface becomes shinier.
What was once hidden
in plain grey rock begins to show
its true colours.
We may have paused to look
at our fellow tumblers
and dismissed some of them
because of the drabness of their coats.
But now they are the stones
that shine the brightest.

Think of the diamond.
It is just a simple crystal
until it is broken, cut and shaped
to reveal its inner brilliance.
We too are being tossed and turned
cut and shaped,
in order to reveal our brilliance.
God the master stone cutter
sees within our drab outer covering
to the hidden beauty within.
Thanks be to God.

Copyright February 2005

Fran Watson,

http://www.franwatson.ca,
http://www.diet-basics.org,
http://www.moremoney4u.org

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Kamalakanta was born in Burdwan India in the late 18th Century. From an early age he expressed an interest in spirituality and later in life Kamalakanta received initiation into Tantric Yoga from a Tantric yogi named Kenaram Bhattacharya. His songs made him famous during his lifetime and because of his fame as a singer poet the Maharaja of Burdwan, Tej Chandra asked Kamalakanta to be his Guru. Kamalakanta became a great devotee of Kali and composed many impassioned and devotional love poems to the Mother.

It is said that the Divine Mother in her aspect of Mahakali wishes her sincere devotees to make the fastest progress. Kali is often depicted as the great destroyer of ignorance and hostile forces. The poetry of Kamalakanta displays this heroic attitude of imploring Kali to destroy limitations and bondage. The poetry of Kamalakanta also displays a profound faith in his all powerful Kali.

“The earth quakes under Your leaps and bounds.
You are frightful with that sword in Your hand .”

Whilst Kali is often depicted as a black and terrifying form, this however is just one aspect of hers as a destroyer of ignorance. Kamalakanta also alludes to the other aspect of Kali as he states in his poem - “Is my Mother Really Black?”

“If She’s black,
how can She light up the world?
Sometimes my Mother is white,
sometimes yellow, blue, and red.
I cannot fathom Her.
My whole life has passed
trying. “

The poems of Kamalakanta and Ramprasad were later sung by Sri Ramakrishna, who himself was a great devotee of the Divine Mother.These devotional songs would often send Sri Ramakrishna into an ecstatic state as he became absorbed in contemplation of the Divine Mother. Many of these songs are recorded in the Gospel of Sri Ramakrishna.

Richard Pettinger
http://www.poetseers.org/

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