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1. Dish// - I Can Hear

  • Published: 2013-05-29T21:58:20+00:00
  • Duration: 251
  • By DISH//

2. Só de mim - With English Subtitles

  • Published: 2012-02-17T09:33:19+00:00
  • Duration: 187
  • By Diffuse
Só de mim - With English Subtitles

Diffuse likes to be present in every special date of the year, and this time, we brought something that we consider different for Valentine's day. "Só de mim", tells the story of a young boy who had it all in love, but that only realized it after losing it. An unlikely story for a normally happy day, with the beautiful city of Lisbon in the background. Everything started with the inspiration from the video called "The Emotive" by Christopher Wong ( and Kevin Guiang. The chemistry happened instantaneously, and we decided we'd like to do something like that, but in Portuguese (because our language is beautiful), with time for shooting (something we believe the first video, unfortunately didn't have the time to), and with an excellent video quality. Here is the original link, so that you can apreciate the master piece, and so that maybe you'll also be inspired by it, and how knows, to do something like we did, but on your own language! ( Writing in paper is always different from "writing in a video". Our text was more extended, but as we felt the video was getting to long, we had to, unfortunately, cut some parts. You'll be able to find our complete text bellow, and we hope you enjoy it as much as we did. Best regards, Diffuse team. *Só de mim* You don't know who I am, but I know who you are... and I just need a minute of your attention. I want to tell you that I hope you know how lucky you are. How much I would like to be in your shoes. To be able to be in the same bed as her every morning. To help her waking up from the bad mood. I hope you know she's only going to talk with you after she brushes her teeth. It's not on purpose... she's just afraid of losing her charm in your eyes. Afraid that you’ll consider her a common human being. I hope you know that she likes to enjoy every sunbeam, and that coffee makes her sick. That she chooses what she's going to wear on the night before, just to have five more minutes of sleep in the morning. That the alarm clock rings fifty times until she gets up, and that, even so, she manages to arrive on time. I also want you to know that she loves fantastic tales, but not Horror stories! That she might know all the names of an old book's characters, but that she isn't going to try hard to immediately know all your friends' names... Because she... she owns herself. She's not the one who is lucky to have you. You are the lucky one, to have her in your life. You know... She's not a romantic by nature, but a spontaneous gesture from you will make her weaken. Because she's safe and sweet at the same time. She can't cook, but she'll try hard to prepare your favourite dish. And if it doesn't come out right, she'll laugh at her failure, instead of blushing. And when she laughs... it makes me want to cry. Not in sadness, but because each laugh is like a musical note that touches my heart and makes me want to dance. I hope that you stop doing what you like to do, and that sometimes you have time to hear her talk about her day and every single achievement. That you put up with her artistic daydreams and the time she wastes colouring children's books when she wants some time for herself. I want you to know that I would love to be on that side, putting up with her bad mood and seeing it change after the first glass of wine. I wanted to be able to admire her nails that most of the times have peeling nail polish than perfect nail polish... but that every imperfect red shape has a story that she built with her own hands. I wish I had fallen in love with her on the first day I saw her, and not on the second one. Because each day with her is to be sure that you are loved. Because she's seduction and joy altogether. Because she gets what she wants with the power of her smile and the strength of her look. I'd be a fool if I didn't know she has brown eyes and that she loves the colour green. I want you to know that she's all I want and never knew I had. Learn that the arrhythmia you feel with her is normal! And that the lack of it is like an emptiness worse than death. I hope you'll be everything I never was. I hope you treat her right. Because if you break her heart you'll lose her forever. I wish I could have read the future... Final Credits: Actor: Diogo Lopes Written by: Ana Luisa Bairos, Joana Pacheco Revised by: Margarida Vaqueiro Lopes Filmed by: Ana Luisa Bairos, Duarte Domingos Video post-production: Ana Luisa Bairos Audio post-production: Alexandre Pereira Original soundtrack: Alexandre Pereira Production: Diffuse studios ( Translation and Subtitles: Susana Santos Special thanks to: Eva Barros, Isa Pinheiro, Susana Santos

3. How to make the Official Dashing Dish™ Protein Shake

  • Published: 2012-04-03T19:37:44+00:00
  • Duration: 373
  • By Dashing Dish
How to make the Official Dashing Dish™ Protein Shake

Hey everyone! Thanks for checking out my video on How to Make an official Dashing Dish™ Protein Shake. I would love to hear your thoughts on the video and anything I can improve on. If you have any questions, write them here on on my site

4. Só de mim with english subtitles

  • Published: 2012-08-10T14:52:56+00:00
  • Duration: 187
Só de mim with english subtitles

"Só de mim", tells the story of a young boy who had it all in love, but that only realized it after losing it. An unlikely story for a normally happy day, with the beautiful city of Lisbon as the background. Everything started with the inspiration from the video called "The Emotive" by Christopher Wong ( and Kevin Guiang. The chemistry happened instantaneously, and I decided I'd like to do something like that, but in Portuguese (because our language is beautiful), with time for shooting (something we believe the first video, unfortunately didn't have the time to), and with an excellent video quality. Here is the original link, so that you can apreciate the master piece, and so that maybe you'll also be inspired by it, and who knows, to do something like we did, but on your own language! ( After being sent to the web on February 14th 2012, "Só de mim" traveled world wide and became one of the biggest viral videos for Valentine's Day. It has now over 1,200,000 views on all sorts of different channels (such as youtube and Vimeo) and its still being shared right now. Writing in paper is always different from "writing in a video". Our text was more extended, but as we felt the video was getting to long, we had to, unfortunately, cut some parts. You'll be able to find our complete text bellow, and we hope you enjoy it as much as we did. Love, Ana Luisa. *Só de mim* You don't know who I am, but I know who you are... and I just need a minute of your attention. I want to tell you that I hope you know how lucky you are. How much I would like to be in your shoes. To be able to be in the same bed as her every morning. To help her waking up from the bad mood. I hope you know she's only going to talk with you after she brushes her teeth. It's not on purpose... she's just afraid of losing her charm in your eyes. Afraid that you’ll consider her a common human being. I hope you know that she likes to enjoy every sunbeam, and that coffee makes her sick. That she chooses what she's going to wear on the night before, just to have five more minutes of sleep in the morning. That the alarm clock rings fifty times until she gets up, and that, even so, she manages to arrive on time. I also want you to know that she loves fantastic tales, but not Horror stories! That she might know all the names of an old book's characters, but that she isn't going to try hard to immediately know all your friends' names... Because she... she owns herself. She's not the one who is lucky to have you. You are the lucky one, to have her in your life. You know... She's not a romantic by nature, but a spontaneous gesture from you will make her weaken. Because she's safe and sweet at the same time. She can't cook, but she'll try hard to prepare your favourite dish. And if it doesn't come out right, she'll laugh at her failure, instead of blushing. And when she laughs... it makes me want to cry. Not in sadness, but because each laugh is like a musical note that touches my heart and makes me want to dance. I hope that you stop doing what you like to do, and that sometimes you have time to hear her talk about her day and every single achievement. That you put up with her artistic daydreams and the time she wastes colouring children's books when she wants some time for herself. I want you to know that I would love to be on that side, putting up with her bad mood and seeing it change after the first glass of wine. I wanted to be able to admire her nails that most of the times have peeling nail polish than perfect nail polish... but that every imperfect red shape has a story that she built with her own hands. I wish I had fallen in love with her on the first day I saw her, and not on the second one. Because each day with her is to be sure that you are loved. Because she's seduction and joy altogether. Because she gets what she wants with the power of her smile and the strength of her look. I'd be a fool if I didn't know she has brown eyes and that she loves the colour green. I want you to know that she's all I want and never knew I had. Learn that the arrhythmia you feel with her is normal! And that the lack of it is like an emptiness worse than death. I hope you'll be everything I never was. I hope you treat her right. Because if you break her heart you'll lose her forever. I wish I could have read the future... Final Credits: Actor: Diogo Lopes Written by: Ana Luisa Bairos, Joana Pacheco Revised by: Margarida Vaqueiro Lopes Filmed by: Ana Luisa Bairos, Duarte Domingos Video post-production: Ana Luisa Bairos Audio post-production: Alexandre Pereira Original soundtrack: Alexandre Pereira Production: Diffuse studios ( Translation and Subtitles: Susana Santos Special thanks to: Eva Barros, Isa Pinheiro, Susana Santos

5. Space Do

  • Published: 2012-02-29T19:23:59+00:00
  • Duration: 60
  • By SchmueyVision
Space Do

“Space Do” While visiting my sister in the Midwest in January 1984, her son (my three year old nephew) Mikey was curious about my ‘Walkman’ cassette player. I put the headphones on his little head which was playing Vangelis. About 30 seconds later, he looked up at me with these huge brown eyes full of wonder and declared “Space Do”. I am forever grateful to Mike’s imagination as this is the best way to describe what I hear with many electronic music pieces and I mean this in the most positive manner. For years I’ve tried to visualize what “Space Do” might look like, and now I think I have something close if not in the ballpark. So this is for Michael Finnegan O’Halloran to celebrate his wonderful imagination, creativity, and his word smith talent. In 1984, I was very fond of listening to Vangelis, Fripp and Eno, Tangerine Dream, Tomita (Holst, “The Planets”), and many other electronic music wizards. This was the decade that began with PBS broadcasting Carl Sagan’s, “Cosmos: A Personal Voyage”. His thesis was “we are all made of Star Stuff.” Little did I know that in 1992, I would be working with a special team of NASA trained techs to fabricate an assembly bound for the Arecibo radio telescope. This was a special 4 million FFT based spectrum analyzer for SETI project SERENDIP III under the direction of UC Berkeley physicist Dan Werthimer. I got to build hardware to listen for ET! I think “Space Do” is the stuff that science fiction is made of. You would get it at a hardware store when you want to create your own universe. Perhaps it comes in a can or a bottle. Spray, drip, or brush it on your canvas and voilà instant nova or nebula or some galactic ‘spacescape’. This is certainly science fiction as what I have portrayed is somewhat astronomically challenged. Although I was thinking of a Jovian like gas giant with three moons passing its face, the proportionate sizes and relative distances of my planetoids is a bit of a stretch, obviously opting for aesthetics over science on this one. The rotation and revolution motion might be possible had the larger moons collided with something significant in their history hence the reverse revolution. Perhaps this is not even a Jovian like background, this could be easily interpreted as a bunch of planets near a nebula. But that’s all up for grabs since this is more about atmosphere, movement, color, music, and changes. I would also like to pay tribute to my sister Mary Lu O’Halloran for her decades work in Color Field/Stain Painting and my brother Richard Loarie for his work with Color Field Painting. Both of these artists have inspired me with this process and to study the work of the major artists that have contributed to this form: Joan Miró, Mark Rothko, Helen Frankenthaler, Morris Louis, Paul Jenkins to name a few. All the images in this video were created live in my studio using a homemade concoction of ingredients poured into a Pyrex oblong baking dish, shall we say, home brewed, ‘space do’. There was no CGI software used except key-frames in the video editor and a fair amount of compositing. TECHNICAL: This entire piece was done with a few (less than 4) live raw shots with a Sony HDR-CX500v camcorder and associated tripod in my studio using tungsten lamps. The production process created rich colorful raw shots as seen in the main back ground shot which hasn't any color correction or anything done to it other than some cropping and motion tracking. Postproduction video editing was done with Sony Vegas Pro 10. To create these planetoid like objects I used any of the following effects: image sharpening, image softening, color correction, color inversion, cookie cutter, spherical distortion, pan/crop manipulation, key-framed track motion, and 7 cells of compositing in selective time (time stretching and compression). I would like to thank cinematographer/composer Bill Newsinger for his pioneering work with bifurcated time and his wizardry with pan/cropping to create composites which I have found to be extremely interesting, beautiful to watch, and very inspiring. Original Music for “Space Do” was composed and performed by Phil Loarie using a Yamaha S08 synthesizer through a Zoom G2.1u effects processor and recorded directly to the Vegas timeline. Effects included Hall Reverb and Multi Tap Delay. As many as 9 stereo tracks were created to make this final version. Camera, editing, sound design, and original music by Phil Loarie, 2012.

6. Gregory Hayman - I Love You Like Salt

  • Published: 2012-04-30T13:52:02+00:00
  • Duration: 50
  • By Jellisartist
Gregory Hayman - I Love You Like Salt

This piece takes as its premise the quote from a number of fairy tales which are common in many countries which show how the good hearted daughter refuses to flatter her father when he asks his daughters in turn how much they love him. The most honest states ‘she loves him like salt’. I.e. in ancient times salt was highly prized, in fact, salt is what Roman soldiers were paid in and led to our word salary – (from salt) and our unit for currency. The tale formed the basis for Shakespeare’s King Lear. The honest daughter Cordelia is banished and the evil flattering ones rewarded. Lear later comes to rue his folly and this leads to his down fall – and the death of Cordelia. I want the words ‘I love you like salt’ to be written in salt at the water’s edge – when the tide is low so that the incoming tide will engulf them and the words erased – claimed by the sea and the material consumed and returned from whence it came – the sea. I want this to illustrate the redemptive and cleansing powers of the sea and to show that love can reach out across the world but can be easily destroyed and all trace of it removed. Instructions: Buy salt in NZ. Take to the beach and when tide is low write the words: ‘I love you like salt’ with the salt on the beach. Photograph and then film or photograph the words as they are reclaimed and erased. Post the images/film on the internet and circulate via social networks the link with these instructions and the narratives below. To Love My Father All William Shakespeare Lear Which of you shall we say doth love us most? That we our largest bounty may extend Where nature doth with merit challenge. Goneril, Our eldest-born, speak first. Goneril Sir, I love you more than words can wield the matter, Dearer than eye-sight, space and liberty, Beyond what can be valued, rich or rare, No less than life, with grace, health, beauty, honour, As much as child e'er loved or father found; A love that makes breath poor and speech unable; Beyond all manner of so much I love you. ... Regan I am made of that self metal as my sister, And prize me at her worth. In my true heart I find she names my very deed of love; Only she comes too short: that I profess Myself an enemy to all other joys Which the most precious square of sense possesses, And find I am alone felicitate In your dear highness' love ... Cordelia I cannot heave My heart into my mouth: I love your majesty According to my bond; nor more nor less. Lear How, how, Cordelia! mend your speech a little, Lest it may mar your fortunes. Cordelia Good my lord, You have begot me, bred me, loved me: I Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands, if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him half my care and duty: Sure, I shall never marry like my sister, To love my father all. Source: William Shakespeare, The Tragedy of King Lear, act 1, scene 1. Written 1605 or 1606. This story is also told by Geoffrey of Monmouth in his Historia Regum Britanniae, finished about 1136. An on-line edition: The British History of Geoffrey of Monmouth, translated from the Latin by A. Thompson; revised and corrected by J. A. Giles (London: James Bohn, 1842), pp. 32-37. Return to the table of contents. Cap o' Rushes England Well, there was once a very rich gentleman, and he'd three darters [daughters]. And he thought to see how fond they was of him. So he says to the first, "How much do you love me, my dear?" "Why," says she, "as I love my life." "That's good," says he. So he says to the second, "How much do you love me, my dear?" "Why," says she, "better nor all the world." "That's good," says he. So he says to the third, "How much do you love me, my dear?" "Why," she says, "I love you as fresh meat loves salt," says she. Well, he were that angry. "You don't love me at all," says he, "and in my house you stay no more." So he drove her out there and then, and shut the door in her face. Well, she went away, on and on, till she came to a fen. And there she gathered a lot of rushes, and made them into a cloak kind o', with a hood to cover her from head to foot, and to hide her fine clothes. And then she went on and on till she came to a great house. "Do you want a maid?" says she. "No, we don't," says they. "I hain't nowhere to go," says she, "and I'd ask no wages, and do any sort o' work," says she. "Well," says they, "if you like to wash the pots and scrape the saucepans, you may stay," says they. So she stayed there, and washed the pots and scraped the saucepans, and did all the dirty work. And because she gave no name, they called her Cap o' Rushes. Well, one day there was to be a great dance a little way off, and the servants was let go and look at the grand people. Cap o' Rushes said she was too tired to go, so she stayed at home. But when they was gone, she offed with her cap o' rushes, and cleaned herself, and went to the dance. And no one there was so finely dressed as her. Well, who should be there but her master's son, and what should he do but fall in love with her, the minute he set eyes on her. He wouldn't dance with anyone else. But before the dance were done, Cap o' Rushes she stepped off, and away she went home. And when the other maids was back, she was framin' [pretending] to be asleep with her cap o' rushes on. Well, next morning, they says to her, "You did miss a sight, Cap o' Rushes!" "What was that?" says she. "Why the beautifullest lady you ever see, dressed right gay and ga'. The young master, he never took his eyes off of her." "Well, I should ha' liked to have seen her," says Cap o' Rushes. "Well, there's to be another dance this evening, and perhaps she'll be there." But come the evening, Cap o' Rushes said she was too tired to go with them. Howsumdever, when they was gone, she offed with her cap o' rushes, and cleaned herself, and away she went to the dance. The master's son had been reckoning on seeing her, and he danced with no one else, and never took his eyes off of her. But before the dance was over, she slipped off, and home she went, and when the maids came back, she framed to be asleep with her cap o' rushes on. Next day they says to her again, "Well, Cap o' Rushes, you should ha' been there to see the lady. There she was again, gay an' ga', and the young master he never took his eyes off of her." Well there," says she, "I should ha' liked to ha' seen her." "Well," says they, "there's a dance again this evening, and you must go with us, for she's sure to be there." Well, come the evening, Cap o' Rushes said she was too tired to go, and do what they would, she stayed at home. But when they was gone, she offed with her cap o' rushes, and cleaned herself, and away she went to the dance. The master's son was rarely glad when he saw her. He danced with none but her, and never took his eyes off her. When she wouldn't tell him her name, nor where she came from, he gave her a ring, and told her if he didn't see her again he should die. Well, afore the dance was over, off she slipped, and home she went, and when the maids came home she was framing to be asleep with her cap o' rushes on. Well, next day they says to her, "There, Cap o' Rushes, you didn't come last night, and now you won't see the lady, for there's no more dances." Well, I should ha' rarely liked to ha' seen her," says she. The master's son he tried every way to find out where the lady was gone, but go where he might, and ask whom he might, he never heard nothing about her. And he got worse and worse for the love of her till he had to keep his bed. "Make some gruel for the young master," they says to the cook. "He's dying for love of the lady." The cook she set about making it, when Cap o' Rushes came in. "What are you a' doin' on?" says she. "I'm going to make some gruel for the young master," says the cook, "for he's dying for love of the lady." "Let me make it," says Cap o' Rushes. Well, the cook wouldn't at first, but at last she said "yes," and Cap o' Rushes made the gruel. And when she had made it, she slipped the ring into it on the sly, before the cook took it upstairs. The young man, he drank it, and saw the ring at the bottom. "Send for the cook," says he. So up she comes. "Who made this here gruel?" says he. "I did," says the cook, for she were frightened, and he looked at her. "No, you didn't," says he. "Say who did it, and you shan't be harmed." "Well, then, 'twas Cap o' Rushes," says she. So Cap o' Rushes came. "Did you make the gruel?" says he." "Yes, I did," says she. "Where did you get this ring?" says she. "From him as gave it me," says she. "Who are you then?" says the young man. "I'll show you," says she. And she offed with her cap o' rushes, and there she was in her beautiful clothes. Well, the master's son he got well very soon, and they was to be married in a little time. It was to be a very grand wedding, and everyone was asked, far and near. And Cap o' Rushes' father was asked. But she never told nobody who she was. But afore the wedding she went to the cook, and say she, "I want you to dress every dish without a mite o' salt." "That will be rarely nasty," says the cook. "That don't signify," says she. "Very well," says the cook. Well, the wedding day came, and they was married. And after they was married, all the company sat down to their vittles. When they began to eat the meat, that was so tasteless they couldn't eat it. But Cap o' Rushes father, he tried first one dish and then another, and then he burst out crying. "What's the matter?" said the master's son to him. "Oh!" says he, "I had a daughter. And I asked her how much she loved me. And she said, 'As much as fresh meat loves salt.' And I turned her from my door, for I thought she didn't love me. And now I see she loved me best of all. And she may be dead for aught I know." "No, father, here she is," says Cap o' Rushes. And she goes up to him and puts her arms round him. And so they was happy ever after. Source: Eveline Camilla Gurdon, County Folk-Lore, printed extracts no. 2: Suffolk (Ipswich: Published for the Folk-Lore Society by D. Nutt, 1893), pp. 40-43. Gurdon's source: A. W. T., "Suffolk Notes and Queries," Ipswich Journal, 1877, (told by an old servant to the writer when a child). Type 510. The episodes following the heroine's exile (her disguise, her mundane work, her appearance at and disappearance from the royal balls, and her ultimate discovery) are reminiscent of tales of type 510B, in which the breach between father and daughter is caused by the father's threats of incest. Link to additional tales of type 510B. Return to the table of contents. Sugar and Salt England Once upon a time there was a father who had two daughters. Calling them to him one day he said to them, "What is the sweetest thing in the world?" "Sugar," said the elder daughter. "Salt," said the younger. The father was angry at this last answer. But his daughter stuck to it, and so her father said to her, "I won't keep a daughter in my house who believes that salt is the sweetest thing in the world. You must leave me and seek another home." So the younger daughter left her father's house and wandered here and there, suffering much hunger and cold, until t last she was befriended by the fairies. As she walked through a wood one day listening to the songs of the birds, a prince came hunting for deer, and when he saw her he fell in love with her at once. She agreed to marry him, and a great banquet was prepared at the prince's house. To this banquet the bride's father was bidden; but he did not know that the bride was his own daughter. Now, at the wish of the bride, all the dishes were prepared without salt. So when the guests began to eat they found that the food was tasteless. At last one of them said, "There is no salt in the meat!" And then all the guests said, "There is no salt in the meat!" And the bride's father spoke the loudest of all. "Truly, salt is the sweetest thing in the world," he said, "though, for saying so, I sent my own daughter away from my house, and shall never see her face again." Then the bride made herself known to her father, and fell on his neck and kissed him. Source: Sidney Oldall Addy, Household Tales, with Other Traditional Remains Collected in the Counties of York, Lincoln, Derby and Nottingham (London: David Nutt; Sheffield: Pawson and Brailsford, 1895), no. 50, pp. 48-49. Similar to type 923. The storyteller has weakened the tale's plot by omitting the comparison between salt and the heroine's love of her father. Return to the table of contents. The Dirty Shepherdess France Once upon a time there lived a king who had two daughters, and he loved them with all his heart. When they grew up, he was suddenly seized with a wish to know if they, on their part, truly loved him, and he made up his mind that he would give his kingdom to whichever best proved her devotion. So he called the elder princess and said to her, "How much do you love me?" "As the apple of my eye!" answered she. "Ah!" exclaimed the king, kissing her tenderly as he spoke, "you are indeed a good daughter." Then he sent for the younger, and asked her how much she loved him. "I look upon you, my father," she answered, "as I look upon salt in my food." But the king did not like her words, and ordered her to quit the court, and never again to appear before him. The poor princess went sadly up to her room and began to cry, but when she was reminded of her father's commands, she dried her eyes, and made a bundle of her jewels and her best dresses and hurriedly left the castle where she was born. She walked straight along the road in front of her, without knowing very well where she was going or what was to become of her, for she had never been shown how to work, and all she had learnt consisted of a few household rules, and receipts of dishes which her mother had taught her long ago. And as she was afraid that no housewife would want to engage a girl with such a pretty face, she determined to make herself as ugly as she could. She therefore took off the dress that she was wearing and put on some horrible old rags belonging to a beggar, all torn and covered with mud. After that she smeared mud all over her hands and face, and shook her hair into a great tangle. Having thus changed her-appearance, she went about offering herself as a goose-girl or shepherdess. But the farmers' wives would have nothing to say to such a dirty maiden, and sent her away with a morsel of bread for charity's sake. After walking for a great many days without being able to find any work, she came to a large farm where they were in want of a shepherdess, and engaged her gladly. One day when she was keeping her sheep in a lonely tract of land, she suddenly felt a wish to dress herself in her robes of splendor. She washed herself carefully in the stream, and as she always carried her bundle with her, it was easy to shake off her rags, and transform herself in a few moments into a great lady. The king's son, who had lost his way out hunting, perceived this lovely damsel a long way off, and wished to look at her closer. But as soon as the girl saw what he was at, she fled into the wood as swiftly as a bird. The prince ran after her, but as he was running he caught his foot in the root of a tree and fell, and when he got up again, she was nowhere to be seen. When she was quite safe, she put on her rags again, and smeared over her face and hands. However the young prince, who was both hot and thirsty, found his way to the farm, to ask for a drink of cider, and he inquired the name of the beautiful lady that kept the sheep. At this everyone began to laugh, for they said that the shepherdess was one of the ugliest and dirtiest creatures under the sun. The prince thought some witchcraft must be at work, and he hastened away before the return of the shepherdess, who became that evening the butt of everybody's jests. But the king's son thought often of the lovely maiden whom he had only seen for a moment, though she seemed to him much more fascinating than any lady of the court. At last he dreamed of nothing else, and grew thinner day by day till his parents inquired what was the matter, promising to do all they could to make him as happy as he once was. He dared not tell them the truth, lest they should laugh at him, so he only said that he should like some bread baked by the kitchen girl in the distant farm. Although the wish appeared rather odd, they hastened to fulfill it, and the farmer was told the request of the king's son. The maiden showed no surprise at receiving such an order, but merely asked for some flour, salt, and water, and also that she might be left alone in a little room adjoining the oven, where the kneading-trough stood. Before beginning her work she washed herself carefully, and even put on her rings; but, while she was baking, one of her rings slid into the dough. When she had finished she dirtied herself again, and let lumps of the dough stick to her fingers, so that she became as ugly as before. The loaf, which was a very little one, was brought to the king's son, who ate it with pleasure. But in cutting it he found the ring of the princess, and declared to his parents that he would marry the girl whom that ring fitted. So the king made a proclamation through his whole kingdom, and ladies came from afar to lay claim to the honor. But the ring was so tiny that even those who had the smallest hands could only get it on their little fingers. In a short time all the maidens of the kingdom, including the peasant girls, had tried on the ring, and the king was just about to announce that their efforts had been in vain, when the prince observed that he had not yet seen the shepherdess. They sent to fetch her, and she arrived covered with rags, but with her hands cleaner than usual, so that she could easily slip on the ring. The king's son declared that he would fulfill his promise, and when his parents mildly remarked that the girl was only a keeper of sheep, and a very ugly one too, the maiden boldly said that she was born a princess, and that, if they would only give her some water and leave her alone in a room for a few minutes, she would show that she could look as well as anyone in fine clothes. They did what she asked, and when she entered in a magnificent dress, she looked so beautiful that all saw she must be a princess in disguise. The king's son recognized the charming damsel of whom he had once caught a glimpse, and, flinging himself at her feet, asked if she would marry him. The princess then told her story, and said that it would be necessary to send an ambassador to her father to ask his consent and to invite him to the wedding. The princess's father, who had never ceased to repent his harshness towards his daughter, had sought her through the land, but as no one could tell him anything of her, he supposed her dead. Therefore it was with great joy he heard that she was living and that a king's son asked her in marriage, and he quitted his kingdom with his elder daughter so as to be present at the ceremony. By the orders of the bride, they only served her father at the wedding breakfast bread without salt, and meat without seasoning. Seeing him make faces, and eat very little, his daughter, who sat beside him, inquired if his dinner was not to his taste. "No," he replied, "the dishes are carefully cooked and sent up, but they are all so dreadfully tasteless." "Did not I tell you, my father, that salt was the best thing in life? And yet, when I compared you to salt, to show how much I loved you, you thought slightingly of me and you chased me from your presence." The king embraced his daughter, and allowed that he had been wrong to misinterpret her words. Then, for the rest of the wedding feast they gave him bread made with salt, and dishes with seasoning, and he said they were the very best he had ever eaten. Source: Andrew Lang, The Green Fairy Book (London: Longmans, Green, and Company, 1892), pp. 180-85. Lang's source: Paul Sébillot, "La pouilleuse," Littérature orale de la Haute-Bretagne (Paris: Maisonneuve et Cie., 1881), pp. 45-52. Sébillot's source: "Told in 1878 by Aimé Pierre, from Liffré, farm worker, aged 19 years." (page 52) Return to the table of contents. As Dear as Salt Germany A king once asked his daughter how dear he was to her. "As dear, as dear -- as salt!" she said. The king thought that this was very little, and he was very unhappy with his child's answer. Soon thereafter he sponsored a great feast. The daughter saw to it that every dish was brought to the table unsalted, and thus nothing tasted good to the king. Finally the daughter explained everything to him. He then recognized how important salt was, and that his daughter had spoken very positively. Thus he loved her again as dearly as before. Source: Ernst Meier, "So lieb wie das Salz," Deutsche Volksmärchen aus Schwaben: Aus dem Munde des Volks gesammelt (Stuttgart: C. P. Scheitlin's Verlagshandlung, 1852), no. 27, p. 99. Translated by D. L. Ashliman. © 1998. Type 923. Return to the table of contents. The Most Indispensable Thing Germany Ages ago there lived a king who had three good and beautiful daughters whom he loved very much and who in turn loved him dearly. He had no princes, but in his kingdom it was the custom that the succession of the throne could also pass to women and daughters. Because the king's wife was no longer alive he was free to appoint one of his daughters to the throne, and it did not need to be the oldest one. Because this king loved all of his daughters equally the decision was very difficult for him. He came to the conclusion to select the one who demonstrated the keenest intellect. He shared this determination with his three daughters, declaring that his approaching birthday would be the day of decision. The one who would bring him "the most indispensable thing" would become queen. Each of the princesses thought about what would be the most indispensable thing. When his birthday arrived, the oldest one approached him, carrying a fine purple robe, and said, "The Lord God had mankind come naked into the world, but then he barred them from paradise. Thus robes and clothing are indispensable." The second daughter brought a loaf of fresh bread that she herself had baked. It was lying on top of a filled beaker made of gold. "Food and drink are the most indispensable things for mankind, born from dust, for without these they cannot live. Thus God created the fruits of the field, fruit, berries, and grapes, and taught mankind to make bread and wine, the sacred symbols of his love." The youngest daughter brought a pile of salt on a wooden plate, saying, "My father, I consider salt and wood to be the most indispensable. Ancient peoples paid sacred homage to the trees and considered salt to be holy. The king was very surprised with these gifts. Thinking about them, he said, "Purple is the most indispensable thing for a king, for if he has it, he has everything else. If he loses it, then he is no longer king and is as common as other humans. Because you have perceived this, my oldest and beloved daughter, after me you shall be decorated with royal purple. Come to me and receive my thanks and my blessing!" After kissing and blessing his oldest daughter, he said to the second oldest, "Eating and drinking are not altogether necessary, my good child, and they draw us down entirely too much into commonness. They are a sign of mediocrity and of the masses. I cannot hinder you if you find pleasure therein, nor can I thank you for your poorly chosen gift, but you shall be blessed for your good will." Then the king blessed his daughter, but he did not kiss her. Then he turned to the third princess, who was standing there pale and trembling. After what she had seen and heard, she sensed what was to come. "My daughter, on your wooden plate you may well have some salt, but in your brain you have none," said the king. "You are still alive, and therefore salt is not indispensable. One does not need salt. With your salt you are showing the sense of a peasant, not the sense of a king. And I take no pleasure on that stiff wooden thing. Thus I can neither thank you nor bless you. Go away from me, as far as your feet will carry you. Go to the stupid and coarse people who worship old blocks of wood and tree limbs instead of the living God, and who consider common salt to be sacred." Crying, the youngest princess then turned away from her hard father, and walked far, far away from the court and the royal city, as far as her feet would carry her. She came to an inn and offered her services to the female innkeeper. The innkeeper was touched by her humility, innocence, youth, and beauty, and she took her in as a maid. The princess soon mastered all the household duties, and the innkeeper said, "It would be a pity if the girl did not learn a decent skill. I'll teach her to cook." And thus the princess learned to cook. She grasped everything quickly, and soon could cook some dishes even better and more delicious than the teacher herself. Business improved at the inn because of the good cooking there, and the good cook's reputation -- who was also so young and so beautiful -- spread throughout the entire land. Now it came to pass that this cook's father's oldest daughter was about to be married. A royal wedding was to be held, and it was recommended to bring the famous cook to the court to prepare the feast, for the lords at the royal court, the marshals, the royal wine stewards, the royal dining stewards, the masters of ceremony, the chamberlains, and other excellencies did not share the view that their most gracious lord the king had once expressed, that eating and drinking were not altogether necessary and that they draw us down to commonness. To the contrary, they praised all good food and fine wine and honored -- at least inwardly -- that old and true proverb, "Eating and drinking hold body and soul together." The wedding meal was deliciously prepared, nor was the king's favorite dish lacking, which had been specially ordered by the royal dining steward. The meal was served. There came one dish after the other, and each was highly praised. Finally came the king's favorite dish, and it was served first to him. He tried it and found it completely tasteless. His cheerful mood darkened, and he spoke to the chamberlain standing behind his golden armchair, "This dish is ruined! It is terrible! Stop the platters from being passed around, and summon the cook!" The cook entered the magnificent hall, and the king addressed her, "You have ruined my favorite dish. You have spoiled my pleasure by not putting any salt in my favorite dish!" Then the cook fell at the king's feet, saying with humility, "Have mercy, your majesty, my royal lord, and forgive me! How could I have dared to mix salt into your food? Did I not once hear from a lofty king's own mouth the words, " One does not need salt. Salt is not indispensable. Salt shows only the sense of a peasant, not the sense of a king!" With shame the king recognized these words as his own and the cook as his daughter. Lifting her from the floor where she was kneeling, he drew her to his heart. He then told all the wedding guests her story and had his youngest daughter once again be seated by his side. Then the wedding became doubly joyful, and the king was once again entirely happy with his daughter's love. Salt is holy. Source: Ludwig Bechstein, "Das Unentbehrlichste," Neues Deutsches Märchenbuch (Leipzig: W. Einhorn's Verlag, 1856), no. 24, pp. 171-75. Translated by D. L. Ashliman. © 1998. Bechstein's source: The Necessity of Salt by Ignaz and Joseph Zingerle (1852). Type 923. Although practically unknown outside his homeland, Ludwig Bechstein (1801-1860) was nineteenth century Germany's most popular editor of fairy tales. During his lifetime his fairy tale collections far outsold in Germany those of his compatriots Jacob and Wilhelm Grimm. Return to the table of contents. The Necessity of Salt Austria Once upon a time there was a king who had three daughters. Because they were good and beautiful he loved them all sincerely. He did not know which one he should appoint as queen. As his birthday approached he summoned his daughters and said to them, "My dear children, I love all three of you sincerely, and for a long time have not known which one of you I should name to be the heir to my throne. But I have now decided that the one of you shall become queen who brings to me a birthday present that is most necessary in human life. Go and make your plans accordingly and with utmost diligence." The old king's birthday arrived, and the two oldest daughters brought him presents that were very necessary, but at the same time extremely expensive. However, the youngest daughter brought him nothing more than a little pile of salt in a decorated container. When the king saw her present he became very angry, and he drove his daughter out of the castle, forbidding her ever again to let herself be seen by him. With deep sorrow the rejected daughter went out into the unknown world, comforted only by her faith in her own good sense. After walking a good while she came to an inn. There she found a female innkeeper who thoroughly understood cooking. She entered an apprenticeship with her and soon exceeded even the innkeeper in the art of cooking. News spread far and wide of the excellent cook in this inn, and everyone who came this way and who still had a few kreuzers left in his pocket stopped to be served a roast or something even more elegant. The king heard of the cook's reputation, and he hired her as court cook. Now it came to pass that the oldest princess was getting married, and the famous cook was assigned the preparation of the wedding feast, with no expenses to be spared. Thus on the wedding day one elegant dish after the other was served until the table almost cracked. Everything was excellently prepared, and everyone praised the cook. Finally the king's favorite dish arrived. Quickly taking a spoon he tasted it. "This has not been salted!" he cried out angrily. "Have the cook brought before me!" They quickly ran for the cook, who entered the hall undaunted. "Why did you forget to salt my favorite dish, you careless girl?" snapped the king at her. The cook answered, "You drove away your youngest daughter because she thought that salt was so necessary. Perhaps you can now see that your child was not so wrong." When the king heard these words he recognized his daughter, begged her for forgiveness, asked her to be seated at his side, and accepted her once again as his dear child. Then the wedding became doubly joyful. The king lived happily with his children for many years thereafter. Source: Ignaz and Joseph Zingerle, "Notwendigkeit des Salzes," Kinder- und Hausmärchen (Innsbruck: Verlag der Wagner'schen Buchhandlung, 1852), no. 31, pp. 189-91. Translated by D. L. Ashliman. © 1998. Type 923. Return to the table of contents. The Value of Salt Italy They say there was a king who had three daughters. He was very anxious to know which of them loved him most; he tried them in various ways, and it always seemed as if the youngest daughter came out best by the test. Yet he was never satisfied, because we has prepossessed with the idea that the elder ones loved him most. One day he thought he would settle the matter once for all, hy asking each separately how much she loved him. So he called the eldest hy herself, and asked her how much she loved him. "As much as the bread we eat," ran her reply; and he said within himself, "She must, as I thought, love me the most of all; for bread is the first necessary of our existence, without which we cannot live. She means, therefore, that she loves me so much she could not live without me." Then he called the second daughter by herself, and said to her, "How much do you love me?" And she answered, "As much as wine!" "That is a good answer too," said the king to himself. "It is true she does not seem to love me quite so much as the eldest; but still, scarcely can one live without wine, so that there is not much difference." Then he called the youngest by herself, and said to her, "And you, how much do you love me?" And she answered, "As much as salt!" Then the king said, "What a contemptible comparison! She only loves me as much as the cheapest and commonest thing that comes to table. This is as much as to say, she doesn't love me at all. I always thought it was so. I will never see her again." Then he ordered that a wing of the palace should be shut up from the rest, where she should be served with everything belonging to her condition in life, but where she should live by herself apart, and never come near him. Here she lived, then, all alone. But though her father fancied she did not care for him, she pined so much at being kept away from him, that at last she was worn out, and could bear it no longer. The room that had been given her had no windows on to the street, that she might not have the amusement of seeing what was going on in the town, but they looked upon an inner courtyard. Here she sometimes saw the cook come out and wash vegetables at the fountain. "Cook! cook!" she called one day, as she saw him pass thus under the window. The cook looked up with a good-natured face, which gave her encouragement. "Don't you think, cook, I must be very lonely and miserable up here all alone?" "Yes, Signorina!" he replied; "I often think I should like to help you to get out; but I dare not think of it, the king would be so angry." "No, I don't want you to do anything to disobey the king," answered the princess; "but would you really do me a favor, which would make me very grateful indeed?" "O! yes, Signorina, anything which I can do without disobeying the king," replied the faithful servant. "Then this is it," said the princess. "Will you just oblige me so far as to cook papa's dinner today without any salt in anything? Not the least grain in anything at all. Let it be as good a dinner as you like, but no salt in anything. Will you do that?" "I see!" replied the cook, with a knowing nod. "Yes, depend on me, I will do it." That day at dinner the king had no salt in the soup, no salt in the boiled meat, no salt in the roast, no salt in the fried. "What is the meaning of this?" said the king, as he pushed dish after dish away from him. "There is not a single thing I can eat today. I don't know what they have done to everything, but there is not a single thing that has got the least taste. Let the cook be called." So the cook came before him. "What have you done to the victuals today?" said the king, sternly. "You have sent up a lot of dishes, and no one alive can tell one from another. They are all of them exactly alike, and there is not one of them can be eaten. Speak!" The cook answered: "Hearing your Majesty say that salt was the commonest thing that comes to table, and altogether so worthless and contemptible, I considered in my mind whether it was a thing that at all deserved to be served up to the table of the king; and judging that it was not worthy, I abolished it from the king's kitchen, and dressed all the meats without it. Barring this, the dishes are the same that are sent every day to the table of the king." Then the king understood the value of salt, and he comprehended how great was the love of his youngest child for him; so he sent and had her apartment opened, and called her to him, never to go away any more. Source: R. H. Busk, Folk-Lore of Rome: Collected by Word of Mouth from the People (London: Longmans, Green, and Company, 1874), pp. 403-406. Return to the table of contents. Like Good Salt Italy Once upon a time there was a king, and this king had three daughters. One fine day he took it into his head to call these three daughters, and to ask them, one after another, if they loved him. He calls the eldest, and he says, "Hark ye, do you love me?" Says she, "Yes, daddy, I do." "And how much?" "As much as good bread." The king thinks and thinks, and then he says, "Yes; when you're hungry bread is a good thing." Then he calls the middle daughter, and he says to her, "Hark ye, do you love me?" "Yes, daddy, I do." "And how much?" "As much as good wine." Well, the king thinks and thinks, and then he says, "Yes, yes; wine puts life into a man, therefore it is a good thing." Then he calls the youngest daughter, and he says, "Hark ye, and do you love me too?" "Yes, daddy, I do." "And how much?" "As much as good salt." And the king said, "As much as good salt!" And he began to think and think, and, because salt by itself tastes bad, this answer of the youngest daughter did not please him." The king, having satisfied himself by reflection that to be loved as mnch as good salt is equivalent to not being loved at all, calls his most faithful servant, and orders him to conduct the youngest princess into some desert place, there to kill her, and to bring back her eyes and her heart in proof of the accomplishment of the deed. The faithful servant receives this remarkable order with the utmost calmness, merely replying, "It shall all be done." The princess is conducted into a great meadow, and there informed that her father's commands are that she shall be killed, and her eyes and heart carried back to the palace. Whilst she is begging for her life, she perceives a little dog, and exclaims that heaven has sent it to assist her escape. She persuades the faithful servant to kill the dog, and carry back its eyes and heart instead of her own. He consents; and she is left alone in the great meadow, very much at a loss what to do, and crying bitterly. In the midst of her grief and perplexity she meets with an old woman -- a fairy of course -- who gives her a little wand. When she puts the wand into her bosom her form will change to that of an old woman. She is then to proceed in a certain direction until she finds a palace. In this palace, as the fairy happens to know, tbey are in want of a woman to look after the poultry. The princess is told to ring the bell of the palace and offer herself for the place in her assumed form of an old woman. All which falls out according to the fairy's directions, and the princess is received as hen-woman into the king's service. There not being room for her to sleep in the palace, she is put to lodge in an outhouse hard by. One evening, the queen's son, happening to pass that way, hears the old hen-woman in her chamber sobbing and lamenting in a very piteous manner. He waits until she comes out, and asks her the cause of hor grief. Is she discontented with her master and mistress? No; on the contrary, the hen-woman is most thankful to them, but she is crying over some private misfortunes of her own. But the next evening the young king goes near the outhouse again, ard hears the same lamentations. His curiosity is excited. He makes a hole in the wall with a gimlet, and, peeping through it, he beholds no old hen-woman, but a beautiful young lady; for the princess resumes her proper form in her own chamber every night by the simple process of putting down the fairy's little wand which she carries in her bosom all day. The young king went directly to his mother, and said to her, "Mother, mother, it's no old woman that minds our hens, but the most beautiful girl that eyes ever saw. Come quickly and look, for I have made a hole in the wall, and you can peep through." With that the queen up and went, and looked through the hole, and saw a beautiful girl, crying bitterly. Said the queen, "Well, you're right; she is a most beautiful young woman." The son said, "Mother, I'll have her for my wife." "Very well, we'll go and ask her." They waited until the hen-woman came out, and then the queen said to her, "Why are you always crying so, goody? But, indeed, you're not goody, but a beautiful young girl, and I won't have you stay there any longer." "And if you're content," said the king, "I'll have you for my wife." "Oh, your majesty," said she; "that's not for the like of me!" "No matter for that," said the queen. "Come along with us now, and in a fortnight's time you shall be my son's wife." This arrangement is acceded to by the disguised princess. But she requests as a favor that on the day of her wedding the bridegroom shall invite all the other kings to a banquet; and that, moreover, all the dishes set before one special king, whom she will indicate, shall be dressed entirely without salt, and that the said king shall be seated nest to her. The wedding day came. All the kings who had been invited were there, and among them the king whose dinner was to be served without salt, and he sat next the bride. When the dinner was served, this king began to sup his broth, and found that there was no salt in it, and he gave a great sigh. He looked at the bride who sat beside him, and he kept looking and looking, because she was so exactly like his daughter. Said she to him, "What's the matter, your royal majesty, that you sigh, and don't eat?" He gave another sigh, and looked at her, but said nothing. They brought one dish after another, but he only just tasted them, and then left them, because they were all without salt. The bride began again saying to him, "But whatever is the matter that you keep on sighing so, and eat nothing?" "I sigh because of something that comes into my head." "Oh, but eat now, and don't think of anything else!" Then the king could not hold his peace any longer. The remorse he felt -- the dinner without salt -- the bride who was so like his daughter -- all made his heart so full, that it was ready to burst, and he was obliged to speak. "If you only knew," said he, "what I have done! One fine morning I took it into my head to call all my daughters, and ask them if they loved me. The youngest one said, yes, she did as much as good salt. At the moment it seemed to me that salt was not a good thing; but now I know how good it is, and that we cannot do without it. But at the moment, in a fit of rage, I called my servant, and ordered him to take away my daughter into some desert place, and to kill her, and to bring back her eyes and her heart. And he did it. He took her away, and killed her, and brought me back her eyes and her heart. And when I look at you I seem to see my daughter, you are so like her." "Have you that servant still?" said she. "Yes; I have him still. But it was none of his fault, you know. He only did what I bade him." "And if I were to say to you that I am your daughter, would you believe me? And that the servant, instead of killing me, killed a little dog, and that, instead of taking out my eyes and my heart, he took out the little dog's, and that he left me to my fate?" Then the king, when he heard all this, was ready to faint. He was just going to fall down on his knees, and ask his daughter's pardon; but she said, "You must do nothing of the sort. Let bygones be bygones; you will always be my own daddy, and now let us think of nothing but making merry. Only I should like that everything belonging to me at home should be given to that servant, because it was he who saved my life." The king was so delighted at finding his daughter again, whom he thought was dead, and at being present at her wedding, that he ordered eight days' more feasting at his own expense, and invited all the kings of his acquaintance, and the faithful servant too, and they had a great merry-making, and lived happy ever after. Source: "Venetian Popular Legends," The Cornhill Magazine (July 1875), pp. 80-83. Editor's note: "This collection has been made con amore by a native Venetian gentleman named Bernoni, who took them down verbatim, as they were told by the comari (old wives, gossips) of Castello or Canaregio. Return to the table of contents. Water and Salt Italy Once upon a time there was a king and three daughters. These three daughters being at table one day, their father said, "Come now, let us see which of you three loves me." The oldest said, "Papa, I love you as much as my eyes." The second answered, "I love you as much as my heart." The youngest said, "I love you as much as water and salt." The king heard her with amazement, "Do you value me like water and salt? Quick! call the executioners, for I will have her killed immediately." The other sisters privately gave the executioners a little dog, and told them to kill it and rend one of the youngest sister's garments, but to leave her in a cave. This they did, and brought back to the king the dog's tongue and the rent garment: "Royal majesty, here is her tongue and garment." And his majesty gave them a reward. The unfortunate princess was found in the forest by a magician, who took her to his house opposite the royal palace. Here the king's son saw her and fell desperately in love with her, and the match was soon agreed upon. Then the magician came and said, "You must kill me the day before the wedding. You must invite three kings, your father the first. You must order the servants to pass water and salt to all the guests except your father." Now let us return to the father of this young girl, who the longer he lived the more his love for her increased, and he was sick of grief. When her received the invitation he said, "And how can I go with this love for my daughter?" And he would not go. Then he thought, "But this king will be offended if I do not go, and will declare war against me some time." He accepted and went. The day before the wedding they killed the magician and quartered him, and put a quarter in each of four rooms, and sprinkled his blood in all the rooms and on the stairway, and the blood and flesh became gold and precious stones. When the three kings came and saw the golden stairs, they did not like to step on them. "Never mind," said the prince, "go up. This is nothing." That evening they were married. The next day they had a banquet. The prince gave orders. "No salt and water to that king." They sat down at table, and the young queen was near her father, but he did not eat. His daughter said, "Royal majesty, why do you not eat. Does not the food please you?" "What an idea! It is very fine." "Why don't you eat then?" "I don't feel very well." The bride and groom helped him to some bits of meat, but the king did not want it, and chewed his food over and over again like a goat (as if he could eat it without salt!). When they finished eating they began to tell stories, and the king told them all about his daughter. She asked him if he could still recognize her, and stepping out of the room put on the same dress she wore when he sent her away to be killed. "You caused me to be killed because I told you I loved you as much as salt and water. Now you have seen what it is to eat without salt and water." Her father could not say a word, but embraced her and begged her pardon. They remained happy and contented, and here we are with nothing. Source: Thomas Frederick Crane, Italian Popular Tales (London: Macmillan and Company, 1885), no. 23, pp. 333-34. Crane's source, "L'Acqua e lu Sali," Giuseppe Pitrè, Riabe: Novelle e Racconti (Palermo, 1875), no. 10. Type 923. Return to the table of contents. The King and His Daughters Pakistan There was once a king who had several daughters. To the first he said, "How do you love me?" "I love you as sugar," said she. To the next he said, "And how do you love me?" "I love you as honey," said she. To the third he said, "And how do you love me?" "I love you as sherbet," said she. To the last and youngest he said, "And how do you love me?" "I love you as salt," said she. On hearing the answer of his youngest daughter the king frowned, and, as she persisted in repeating it, he drove her out into the forest. There, when wandering sadly along, she heard the tramping of a horse, and she hid herself in a hollow tree. But the fluttering of her dress betrayed her to the rider, who was a prince, and who instantly fell in love with her and married her. Some time after, the king, her father, who did not know what had become of her, paid her husband a visit. When he sat down to meat, the princess took care that all the dishes presented to him should be made-up sweets, which he either passed by altogether or merely tasted. He was very hungry, and was longing sorely for something which he could eat, when the princess sent him a dish of common spinach, seasoned with salt, such as farmers eat, and the king signified his pleasure by eating it with relish. Then the princess threw off her veil, and, revealing herself to her father, said, "Oh my father, I love you as salt. My love may be homely, but it is true, genuine and lasting, and I entreat your forgiveness." Then the king perceived how great a mistake he had made, and there followed a full reconciliation. Source: Charles Swynnerton, Indian Nights' Entertainment; or, Folk-Tales from the Upper Indus (London: Elliot Stock, 1892), no. 27, pp. 78-79. Type 923. Return to the table of contents. The Princess Who Loved Her Father Like Salt India In a country there lived a king who had seven daughters. One day he called them all to him and said to them, "My daughters, how much do you love me?" The six eldest answered, "Father, we love you as much as sweetmeats and sugar;" but the seventh and youngest daughter said, "Father, I love you as much as salt." The king was much pleased with his six eldest daughters, but very angry with his youngest daughter. "What is this?" he said; "my daughter only loves me as much as she does salt!" Then he called some of his servants, and said to them, "Get a palanquin ready, and carry my youngest daughter away to the jungle." The servants did as they were bid; and when they got to the jungle, they put the palanquin down under a tree and went away. The princess called to them, "Where are you going? Stay here; my father did not tell you to leave me alone in the jungle." "We will come back," said the servants; "we are only going to drink some water." But they returned to her father's palace. The princess waited in the palanquin under the tree, and it was now evening, and the servants had not come back. She was very much frightened and cried bitterly. "The tigers and wild beasts will eat me," she said to herself. At last she went to sleep, and slept for a little while. When she awoke she found in her palanquin some food on a plate, and a little water, that God had sent her while she slept. She ate the food and drank the water, and then she felt happier, for she thought, "God must have sent me this food and water." She decided that as it was now night she had better stay in her palanquin, and go to sleep. "Perhaps the tigers and wild beasts will come and eat me," she thought; "but if they don't, I will try tomorrow to get out of this jungle, and go to another country." The next morning she left her palanquin and set out. She walked on, till, deep in the jungle, she came to a beautiful palace, which did not belong to her father, but to another king. The gate was shut, but she opened it, and went in. She looked all about, and thought, "What a beautiful house this is, and what a pretty garden and tank!" Everything was beautiful, only there were no servants nor anybody else to be seen. She went into the house, and through all the rooms. In one room she saw a dinner ready to be eaten, but there was no one to eat it. At last she came to a room in which was a splendid bed, and on it lay a king's son covered with a shawl. She took the shawl off, and then she saw he was very beautiful, and that he was dead. His body was stuck full of needles. She sat down on the bed, and there she sat for one week, without eating, or drinking, or sleeping, pulling out the needles. Then a man came by who said to her, "I have here a girl I wish to sell." "I have no rupees," said the princess; "but if you will sell her to me for my gold bangles, I will buy her." The man took the bangles, and left the girl with the princess, who was very glad to have her. "Now," she thought, "I shall be no longer alone." All day and all night long the princess sat and pulled out the needles, while the girl went about the palace doing other work. At the end of other two weeks the princess had pulled out all the needles from the king's body, except those in his eyes. Then the king's daughter said to her servant-girl, "For three weeks I have not bathed. Get a bath ready for me, and while I am bathing sit by the king, but do not take the needles out of his eyes. I will pull them out myself." The servant-girl promised not to pull out the needles. Then she got the bath ready; but when the king's daughter had gone to bathe, she sat down on the bed, and pulled the needles out of the king's eyes. As soon as she had done so, he opened his eyes, and sat up. He thanked God for bringing him to life again. Then he looked about, and saw the servant-girl, and said to her, "Who has made me well and pulled all the needles out of my body?" "I have," she answered. Then he thanked her and said she should be his wife. When the princess came from her bath, she found the king alive, and sitting on his bed talking to her servant. When she saw this she was very sad, but she said nothing. The king said to the servant-maid, "Who is this girl?" She answered, "She is one of my servants." And from that moment the princess became a servant-girl, and her servant girl married the king. Every day the king said, "Can this lovely girl be really a servant? She is far more beautiful than my wife." One day the king thought, "I will go to another country to eat the air." So he called the pretended princess, his wife, and told her he was going to eat the air in another country. "What would you like me to bring you when I come back?" She answered, "I should like beautiful saris and clothes, and gold and silver jewels." Then the king said, "Call the servant-girl, and ask her what she would like me to bring her." The real princess came, and the king said to her, "See, I am going to another country to eat the air. What would you like me to bring for you when I return?" "King," she answered, "if you can bring me what I want I will tell you what it is; but if you cannot get it, I will not tell you." "Tell me what it is," said the king. "Whatever it may be I will bring it you." "Good," said the princess. "I want a sun-jewel box." Now the princess knew all about the sun-jewel boxes, and that only fairies had such boxes. And she knew, too, what would be in hers if the king could get one for her, although these boxes contain sometimes one thing and sometimes another. The king had never heard of such a box, and did not know what it was like; so he went to every country asking all the people he met what sort of box was a sun-jewel box, and where he could get it. At last one day, after a fruitless search, he was very sad, for he thought, "I have promised the servant to bring her a sun-jewel box, and now I cannot get one for her; what shall I do?" Then he went to sleep, and had a dream. In it he saw a jungle, and in the jungle a fakir who, when he slept, slept for twelve years, and then was awake for twelve years. The king felt sure this man could give him what he wanted, so when he woke he said to his sepoys and servants, "Stay here in this spot till I return to you; then we will go back to my country." He mounted his horse and set out for the jungle he had seen in his dream. He went on and on till he came to it, and there he saw the fakir lying asleep. He had been asleep for twelve years all but two weeks. Over him were a quantity of leaves, and grass, and a great deal of mud. The king began taking off all the grass, and leaves, and mud, and every day for a fortnight when he got up he cleared them all away from off the fakir. When the fakir awoke at the end of the two weeks, and saw that no mud, or grass, or leaves were upon him, but that he was quite clean, he was very much pleased, and said to the king, "I have slept for twelve years, and yet I am as clean as I was when I went to sleep. When I awoke after my last sleep, I was all covered with dirt and mud, grass and leaves; but this time I am quite clean." The king stayed with the fakir for a week, and waited on him and did everything for him. The fakir was very much pleased with the king, and he told this to him: "You are a very good man." He added, " Why did you come to this jungle? You are such a great king, what can you want from me?" "I want a sun-jewel box," answered the king. "You are such a good man," said the fakir, "that I will give you one." Then the fakir went to a beautiful well, down which he went right to the bottom. There, there was a house in which lived the red fairy. She was called the red fairy not because her skin was red, for it was quite white, but because everything about her was red: her house, her clothes, and her country. She was very glad to see the fakir, and asked him why he had come to see her. "I want you to give me a sun-jewel box," he answered. "Very good," said the fairy, and she brought him one in which were seven small dolls and a little flute. "No one but she who wants this box must open it," said the fairy to the fakir. "She must open it when she is quite alone and at night." Then she told him what was in the box. The fakir thanked her, and took the box to the king, who was delighted and made many salaams to the fakir. The fakir told him none but the person who wished for the box was to open it; but he did not tell him what more the fairy had said. The king set off on his journey now, and when he came to his servants and sepoys, he said to them he would now return to his country, as he had found the box he wanted. When he reached his palace he called the false princess, his wife, and gave her her silks and shawls, and scarfs, and gold and silver jewels. Then he called the servant-girl -- the true princess -- and gave her her sun-jewel box. She took it, and was delighted to have it. She made him many salaams and went away with her box, but did not open it then, for she knew what was in it, and that she must open it at night and alone. That night she took her box and went out all by herself to a wide plain in the jungle, and there opened it. She took the little flute, put it to her lips, and began to play, and instantly out flew the seven little dolls, who were all little fairies, and they took chairs and carpets from the box, and arranged them all in a large tent which appeared at that moment. Then the fairies bathed her, combed and rolled up her hair, put on her grand clothes and lovely slippers. But all the time the princess did nothing but cry. They brought a chair and placed it before the tent, and made her sit in it One of them took the flute and played on it, and all the others danced before the princess, and they sang songs for her. Still she cried and cried. At last, at four o'clock in the morning, one of the fairies said, "Princess, why do you cry?" "I took all the needles out of the king, all but those in his eyes," said the princess, "and while I was bathing, my servant-girl, whom I had bought with my gold bangles, pulled these out She told the king it was she who had pulled out all the other needles and brought him to life, and that I was her servant, and she has taken my place and is treated as the princess, and the king has married her, while I am made to do a servant's work and treated as the servant." "Do not cry," said the fairies. "Everything will be well for you by and by." When it was close on morning, the princess played on the flute, and all the chairs, sofas, and fairies became quite tiny and went into the box, and the tent disappeared. She shut it up, and took it back to the king's palace. The next night she again went out to the jungle-plain, and all happened as on the night before. A wood-cutter was coming home late from his work, and had to pass by the plain. He wondered when he saw the tent. "I went by some time ago," he said to himself, "and I saw no tent here." He climbed up a big tree to see what was going on, and saw the fairies dancing before the princess, who sat outside the tent, and he saw how she cried though the fairies did all they could to amuse her. Then he heard the fairies say, "Princess, why do you cry?" And he heard her tell them how she had cured the king, and how her servant-girl had taken her place and made her a servant. "Never mind, don't cry," said the fairies. "All will be well by and by." Near morning the princess played on her flute, and the fairies went into the box, and the tent disappeared, and the princess went back to the palace. The third night passed as the other two had done. The wood-cutter came to look on, and climbed into the tree to see the fairies and the princess. Again the fairies asked her why she cried, and she gave the same answer. The next day the wood-cutter went to the king. "Last night and the night before," he said, "as I came home from work, I saw a large tent in the jungle, and before the tent there sat a princess who did nothing but cry, while seven fairies danced before her, or played on different instruments, and sang songs to her." The king was very much astonished, and said to the wood-cutter, "Tonight I will go with you, and see the tent, and the princess, and the fairies." When it was night the princess went out softly and opened her box on the plain. The wood-cutter fetched the king, and the two men climbed into a tree, and watched the fairies as they danced and sang. The king saw that the princess who sat and cried was his own servant-girl. He heard her tell the fairies all she had done for him, and all that had happened to her; so he came suddenly down from the tree, and went up to her, and took her hand. "I always thought you were a princess, and no servant-girl," he said. "Will you marry me?" She left off crying, and said, "Yes, I will marry you." She played on her flute, and the tent disappeared, and all the fairies, and sofas, and chairs went into the box. She put her flute in it, as she always did before shutting down the lid, and went home with the king. The servant-girl was very vexed and angry when she found the king knew all that had happened. However, the princess was most good to her, and never treated her unkindly. The princess then sent a letter to her mother, in which she wrote, "I am going to be married to a great king. You and my father must come to my wedding, and must bring my sisters with you." They all came, and her father and mother liked the king very much, and were glad their daughter should marry him. The wedding took place, and they stayed with her for some time. For a whole week she gave their servants and sepoys nice food cooked with salt, but to her father and mother and sisters she only gave food cooked with sugar. At last they got so tired of this sweet food that they could eat it no longer. At the end of the week she gave them a dinner cooked with salt. Then her father said, "My daughter is wise though she is so young, and is the youngest of my daughters. I know now how much she loved me when she said she loved me like salt. People cannot eat their food without salt. If their food is cooked with sugar one day, it must be cooked with salt the next, or they cannot eat it." After this her father and mother and sisters went home, but they often came to see their little daughter and her husband. The princess, the king, and the servant-maid all lived happily together Source: Maive Stokes, Indian Fairy Tales (London: Ellis and White, 1880), no. 23, pp. 164-72. Stokes's source: Múniyá, a Hindu and "a very old, white-haired woman." (page vi).

7. A Love For Making Web Series

  • Published: 2012-07-04T22:30:10+00:00
  • Duration: 2365
  • By Spidvid
A Love For Making Web Series

We are back with one of our very top Spidcast episodes to date this month (listen in below and subscribe to “Spidcast” on iTunes) with a focus on filmmaking, web series, the business side of Indie TV, and other interesting sound bites! June’s Spidcast features the incredible individuals; Sandra Payne and Carter Mason. They are our amazingly talented, passionate, and insightful guests for our 17th episode of Spidcast on June 12, 2012. Sandra Payne is an extremely talented writer, director, and producer of several award winning films and web series. She also holds the position as the Chair of Events Committee for IAWTV. On the filmmaking side of things, Sandra has written, directed and/or produced several award-winning short projects. Sandra has a master’s degree in English from the University of North Texas where she specialized in screenwriting. She’s been writing ever since. Her motto: short films should be short and great. Carter Mason is the co-founder and CEO of JTS.TV and has worked in the entertainment industry for almost a decade as an actor, writer, and producer. His clients have produced numerous feature and short films, independent series, and new media projects. The reputation and relationships forged through the Carter Mason Group laid the foundation for a creator friendly business model to gain immediate acceptance by the independent television community. Full transcript below Michael London: Hi, I’m Michael London. And welcome to Spidcast, the Future of Collaborative Video Production brought to you by Indie Source Magazine where they believe free is better. On this episode, we are talking with writer, director, producer, filmmaker and somewhat of a pioneer of digital production for the web, Sandra Payne and we’ll also visit with co-founder and CEO of JTS.TV, Carter Mason. Carter will share with us some of the all-important business side of show business. First up is Sandra Payne, Sandra, welcome to Spidcast. Sandra Payne: Well, thank you very much for having me. I’m excited to be here. Michael London: So, tell us a little bit about yourself. Sandra Payne: I was born in Alaska, we’ll start back then. I always think that’s a little bit of a fun part of my story. I was born in Fairbanks and grew up in different places around the world. So, I lived in Indonesia for two years when I was in middle school and then went to boarding school for a year in Austria and then finished high school in Seattle and I’ve lived in North Carolina and Oklahoma where I graduated from college and then we lived in Dallas for eight years when I wrote for “Barney” and also did (info) products for a sister show, “Wishbone” the PBS show, “Wishbone” and then we moved to Los Angeles in 1999. Michael London: Well, that sounds suspiciously like the storyline of an army brat. Sandra Payne: Actually, no. My dad is an engineer and so my parents met and married in Alaska when it was still a territory and then my dad was a civil engineer so there was a job that was happening in Indonesia on the island of Sulawesi and it was nickel mine and so my dad was there helping build a dam to provide hydroelectric power. So, we had a life of riley when we went there. It was on the equator. It was fantastic and I had correspondence course school and spent the time afternoon running around the jungle and going to the pool. Michael London: So, has your globe-trotting helped with your writing? Sandra Payne: I think it’s critical. I think one of the things that I have come to realize as I get older is how valuable it is to live. I think that as a writer, you have to have experiences to draw from and there’s two different ways to live a life and one is experience life and to live life and to choose to go after adventure and another way of living is to be someone who’s maybe more stationary but I think from my perspective, it’s hard for me to know what it would be like actually because I don’t have that ability to access what that life would be like but it seems to me, it would be harder to be able to craft story and to craft characters because you would have someone’s (life) exposure to different aspects of life. And so I find my background really helpful when I’m diving in to figure out who a character is. Michael London: So, via Indonesia, Alaska, North Carolina and Texas, how did you find your way to LA? Sandra Payne: Well, when I got the job writing for “Barney” pretty much, Dallas had a couple of shows that were in production at that time, one of which was “Walker, Texas Ranger.” It was 1999 and so I was writing for “Barney” and then maybe the next step might have been writing for “Walker” and then that was that. And so when I was there, I went to several of the Austin Film Festivals and at that time, it was called the heart of screen writing film festivals so there was a lot, they still do a lot of seminars and stuffs about screen writing and the focus was very much on the writer and every single time I went, they’d say, “You have to live in LA,” like all the panels would come from LA and they would all stare at you and would say, “You should live in LA.” And I kept hearing that over and over and I was resistant but when I was finishing up my first year with “Barney” I realized, you know what? I kind of need to live in LA. So, we came out here and had a look around and decided to take the plunge and I have never regretted that. It was a great decision and I’m very, very happy. I think it’s much more possible now to not have to actually live in LA to make a life happen in the entertainment realm but even in 1999, that was a different world. We didn’t have digital content like we do now and you just, everything I think was much more geared for life in Hollywood being in Hollywood. Michael London: So, tell us about that. Tell us how you made the transition from traditional media to the online world? Sandra Payne: Well, after kicking around Hollywood for a couple of years after I finished up my stay with “Barney” and I wrote some screenplays and got them auctioned and it was all so exciting but as you know, the average time from writing a script to getting it on screen is seven years so you can’t really hold your breath and it was getting frustrating for me because I wanted to see my work on the screen and I had things I wanted to write and to have to rely on other people to green light you and to make that decision, it was difficult and as an artist, as a lot of us are, I think we all have that drive to do our art and if you’re a screenwriter, your art is dependent upon a chain on so many other people. And so in 2008, I went to the Future of Television Conference. I got this awesome opportunity to go through another friend and it was an $800 conference and I got in for a lot cheaper and when I got there, it was mind blowing. It was, again, 2008, February of 2008, I remember it clearly and I sat through the whole day listening to like the head of Sony and all these people talking about where we were heading and all of the sudden, I was like, what is happening? The entire industry is shifting and I had no idea. I had (Vagary) at that time I heard of web series. I’d heard of lonelygirl15. I didn’t really have not even considered making one myself. At the end of that day, I was like, I got to make a web series. And happily, one of the people I bumped into turned out to be Tim Street. He was on the board of the International Academy of Web Television and he was wonderfully accessible and when I said, I wanted to do this, he was like, well, call him when I was ready and I did and he gave me some great advice and I plodded forward. It took me a year and I finally was in a middle of production of my web series in 2009 and I wrote on my Facebook page, I love making web series and my friend, Kristyn Burtt who was the creator of The Web Files and collaborated with me on that show. She called me and said, “Hey, do you want to make a web series?” And her idea was a web series where we interviewed web series creators about their web series and I was like, that’s genius. Let’s do it. So, we dove in and over the course of the next year, we made 51 episodes about one per week and met so many great people in the web series world and had a wonderful, wonderful year but it ended out deciding at the end of that year for me personally that I wanted to get back to writing some fictional work and I was pretty much letting go of doing the writing side because the web files was taking so much of our time that I was really producing and directing more than anything else and I wanted to get back to being a writer. So, I had a short film that I had written and so in late 2010, I started working on producing that short film and it’s called, “Death Inc.” and when I started working on that, I had a makeup test day that I did in October of that year for the short film and when I paid the makeup artist for the testing, I was like, if I’m going to pay for the makeup test, I might as well make a web series. So, that’s how “Ask Grim” started which is my third web series. My first one, by the way, the one that I was making when The Web Files happened was “Life with Kat and McKay” and that was a romantic comedy. So, it was a romantic comedy talk show and then fictional comedy talk show called, “Ask Grim” starring Tom Konkle because he’s in my short film as the Grim Reaper so we ran down to, my husband and I went down to Venice Beach, interviewed a bunch of people about what questions they would ask the Grim Reaper and came back and then sat Tom down and share after his makeup was on and said, okay, answer some questions from the audience about this and we made three episodes that we uploaded in October and got a bunch of people writing back saying, “oh, I want to ask the Grim Reaper something,” and by that time, I’d done enough web series. I was like, oh, wow, we have engagement which is a big deal. So, we ended up making eight more so we have 11 episodes of “Ask Grim” and then currently, I’m on hiatus for my (three). I won’t be making any more web files and likely not anymore of “Ask Grim.” I have a few episodes of “Life with Kat and McKay” to finish putting out there but I’m currently a staff writer for “CHICK” which is a (friend of mine’s) series. Kai Soremekun and that series is, it’s fantastic. I just love working on it. I’m so grateful to be a part of it. It’s basically this quirky drama web series that chronicles the exciting adventures of one young woman’s quest to become a superhero and we’re working on season 2 and I’m part of her writing staff and there’s four of us and her and so we took about six weeks to break the story out and then we’re each writing episodes right now and it’s been a blast. It’s so much fun so I can’t wait to see how that comes out for season 2. Michael London: And that was, it’s called, “CHICK”, right? Sandra Payne: Yes. Michael London: And where can we see that? Sandra Payne: CHICK is at and also on YouTube and I think it’s on YouTube but as well. Michael London: And tell us, Sandra, about your experience as the Events Chairman of IAWTV. Sandra Payne: Well, that has been rather exciting ride. It turns out that there are a lot of events that the International Academy of Web Television is up to and it’s been really wonderful in many ways just because of the people that I’m able to talk with to put them on panels and how with building out a presence for the IAWTV in various places around the country right now. So, as matter of fact, working on Blog World New York’s, it’s Blog World and New Media Expo in New York City and it’s the June 5th through 7th coming up next month and what’s exciting about that one is there’s an entire web TV track going on to that; 24 different panels all about web television with some really great people who are going to be speaking exactly to the topics that a lot of us want to be hearing from and about. And so I’m very excited on that front to be helping out with things like that and we have Vid Con that’s coming up at the end of June and we just finished up a Digital Hollywood run with several panels there and I’m already working some people on South by Southwest so that next March, we’ll have a presence at South by Southwest. Michael London: Very cool. Lots to learn there. So, give us a bit of a preview for the newbies. What is your advice to someone just jumping in to web media? Sandra Payne: Gosh, I have so much advice. I’ve learned so many lessons. One of the wonderful things about this space is that you live and die on your own sword. I mean you just have the opportunity to really learn and I mean, sometimes, it’s terrible because you learn lessons and you’re like, oh, gosh. I wish I had known ahead of time and so one of the things I would say is there’s a lot of resources out there now, a lot more than probably were out in there in 2008. So, read up and study if you are going to be launching and going forward in the web series where there’s a lot of content that you’re going to be competing with and I think the biggest lesson from my perspective is that it’s not really about creating a web series, at least 50%. I would say more like 75% of your time will need to be spent marketing your web series because it’s definitely not, if you build it they will come situation. You have to be out there finding every eyeball and getting them engaged and getting them excited about your web series and asking them to come back and watch future episodes and building your fan base. So, I think that if you’re going to start a web series, your work starts now. You have to start, if you’re new to the whole thing, start now to build your presence online, to have a social media presence, to be able to have a certain level of people that you can tell that you were launching a web series and then keep them posted on how your progress is going. And then from the creative standpoint, make sure that you really have thought through your idea. I think that one of the mistakes for me back in 2008 which maybe in the future won’t be a mistake so much but was making a romantic comedy. I mean my romantic comedy having went into “Barney” make sense, these are kind of on the sweet side. I’m not super edgy and so here’s my little web series out there with like nothing edgy in it really and I realized later, gosh, I pretty much aimed for an audience that wasn’t at that time watching online video. I mean, so you got to think of who’s watching on my video right now? I used the demographic there. How will you be able to reach out to them and if you are really going to target them, you have to think of ideas that are going to fit with who’s watching. So, if you’re going to make a romantic comedy, maybe now it’s more possible than what it was 2008, but it’s still going to be a tougher road to find your audience for romantic comedies than it would be if you’re going to make sci-fi and that’s going to be true for the foreseeable future, I think. Michael London: Sage advice, Sandra, so speak for a moment if you will about the help that collaboration affords. Sandra Payne: I think that one of the wonderful things about is you guys this podcast and everybody who’s out there who’s helping build this space is that we all are pretty in touch with each other and we do support each other and I think that has been the biggest most wonderful thing about being in the web series (in the old days) is that the level of support that you can get in this side of content creation and probably because it’s a no threat level. I mean when you’re playing the big guns in Hollywood, there’s millions of dollars on the table and everybody is fighting for every last of those crap but in our littler realm, yes, it’s not a lot of money on the table so everybody seems pretty helpful and truly interested in making sure everybody is successful and I think it’s been just absolute blast plus it helps you hone your skills. There’s really nothing more telling than putting up a video and having people watch it and comment on it immediately and you don’t really get that if you’re writing for television. You might not necessarily know what’s hitting your audience right with your episode on television versus your episode on YouTube. You’re going to get a lot of comment. But anyway, this podcast and things like this are just fantastic. Michael London: And then speaking about your web series and content, where can we see everything Sandra? Sandra Payne: Well, thank you for asking. That’s so sweet of you. Hopefully, my short film, Death Inc. again will be coming to a festival near you so keep an eye out for that but I do have several websites. is my home site and is my web series site and both of those are also my names on Twitter. Spwrite is sort of my overall brand of me and Purse Dog TV is my web series brand that I put on my web series underneath of it and then I do have “Ask Grim” and “The Web Files” is also out there on Twitter. And then YouTube, I have channels for all of those things. So, Spwrite has a channel on YouTube. Purse Dog TV has a channel on YouTube and “Ask Grim” has a channel although “Ask Grim” channel is actually called Rappin with the Reaper without a G and yes, I shouldn’t have named it that and “The Web Files” has a YouTube channel and a Daily Motion channel. Michael London: Well, you certainly walk your talk when you mentioned having a web presence. Sandra Payne: Yes, I’m sorry. That was like (his) laundry list and web presence there and the fast way to find me is go to my Twitter because SPwrite, I will definitely respond to you. I respond to everyone who writes me on SPwrite and famous Purse Dog TV. I love it when people write me on those things. It’s so exciting to have people actually talk to me. Michael London: Excellent, Sandra and now for that one last nugget of advice. Sandra Payne: Well, I think the best thing I could say to someone is if you’re even considering it, go for it. It’s so much. You should totally make a web series. Don’t let anything stop you. Just go out there and do it. Michael London: Sandra Payne, thank you so much for joining us today on Spidcast. Sandra Payne: Thank you so much, Michael. I really appreciate it. Michael London: Spidcast, brought to you by Indie Source Magazine, the fastest growing independent filmmaker resource and the only free publication of its kind. Now, their mission is to bring you not only stories of the industry’s highly celebrated but stories and insight from players in all areas of the media creation process. At Indie Source, they believe free is better. I agree with that. Visit them at Operator: Spidcast. Michael London: Joining us now is Carter Mason, the co-founder and the CEO of JTS.TV. Carter, welcome. Carter Mason: Thank you. Glad to be here. Michael London: So, let’s jump right in. Give us a reader’s digest version of you, Carter. Carter Mason: My background is in the business and legal side of film and then also being an actor and writer myself. And so I created JTS.TV seeing a need for both quality content that’s independent to emerge amidst all of the lesser qualities is the nice to say it web series and the kind of productions out there and also, financial model that would sustain for these independent creators, TV quality programming that’s not made for a networker’s studio. So, what I, mostly right now, we’re focusing on finding the quality content and getting the awareness out there to get subscribers for JTS.TV so that the shows are getting watched by more and more people. Michael London: I got to tell you, that seems like two completely different sides of your brain. How do you do that? Carter Mason: Well, most people are not wired like I am so I guess I call myself a hybrid sometimes and that’s part of the reason that the idea even came about for our network is that I had these relationships with all these independent creators who basically, they just wanted to make their shows and they had no concept of how to make money off of them and part of that is that it’s very difficult because nobody has figured it out completely in the digital space yet anyway and so then they ask creative who don’t even want to deal with that aspect to figure it out. It just wasn’t going to happen and the problem is when you have a property that is worth something and by property, I mean shows or films, somebody else is going to create a financial model for you and most likely it’s not going to be the most beneficial to you. And so what we have right now is this buffer, people who are trying to monetize basically had supported content and the only people that benefits are the advertisers and the companies with enough shows and films to get millions and millions of views but then that money is spread out over a small part, a small chunk. And so for me, I was actually looking at this conversation earlier today with somebody. I had a show that I was pitching and I wasn’t willing to make it in the current environment and so the way that my business brain was thinking was we need a model that will work. We need a model that will work for TV quality productions which is what I wanted to do and it really wasn’t out there and readily available to anyone and so basically, the desire for my own work to be sustainable was one of the factors and starting JTS.TV, being creative and business minded at the same time. Michael London: So, as a kid, were you a movie hound or a creative kid? Carter Mason: Yes, I was always creative. I was more entrepreneurial as a kid but I was always intrigued by acting and writing but never really pursued. I remember in high school actually sitting down and trying to write a novel and it was just really random for me because I was always business oriented and I did things like I promoted baseball card shows and started the baseball card shop by senior year of high school. I went in and opened it up after school. And so the creative side of me didn’t have an outlet for a long time. I was so focused on business and now, I feel like in my life, there’s (serenity) between both the business side and the creative. I get to do both. Michael London: I got to ask you, Carter, what was your best score ever as far as selling a baseball card? Carter Mason: On a baseball card? I sold a pretty poor conditioned 1952 Bowman Mickey Mantle for 2000 bucks. I don’t remember the exact, (then and) now the exact price. That’s been 20 years. Michael London: I just love those stories. So, you seemed to be drawn to the web more so than traditional media. Tell us about that. Carter Mason: Well, I just see that the content delivery of the future, the way that people want to consume media and the way that they’re forced to consume quality media right now is not in lined. And what we see is that there are going to be more network like us emerged that don’t need a cable subscription or a broadcast mechanism other than the internet and so the internet is now something that almost everybody has access to and the way that people want to consume it is to pay for what they want or watch ads when they want. But if you look at what people really want, the people that are trying to cut the cord from cable, they’re signing up for Netflix (woo-hoo) and then on their Roku boxes are their Samsung connected TVs or all the other (box here) or what have you. They are purchasing or downloading specific channels to what they’re interested in and the cable world, you have this base subscription that you have to have before you can add anything and that’s the problem. If HBO and Showtime and Stars disconnected from cable which is not going to happen anytime in the near future but if they did, the cable industry would die in my opinion because people are keeping, a lot of people—honestly, I am one of them. I would not have a cable subscription if I could just subscribe to HBO and Showtime. Love their television shows and if I could get those without a cable subscription and not downloading them illegally, I don’t think that’s right. So, I would cut the cord from cable myself. Michael London: I completely agree with you. I stop my subscription to a satellite radio service because I was being forced to pay for channels I didn’t want to listen to. Carter Mason: Some of the (re-plans), I was one of the panel of the Catalina Film Festival and somebody was asking about (Topa) and we’re talking about video and piracy and what have you and it came up. My take on the whole thing is that when you start allowing people to buy in a way that they want to buy, piracy will go down and you’ll look at when the iTunes (4) flourish and when there were other options for buying music? Do people still illegally download music? Sure but do a lot of people pay for music? I for one buy more music over the—I have bought more music over the past five years than I ever did buying CDs because it’s the way that I want to consume it on devices that I can listen to it and when the video industry catches up with that, and we’re not tied to cable for a quality programming, you will see less and less piracy. Michael London: I couldn’t agree more. So, tell us a bit about JTS.TV and what it’s all about. Carter Mason: Well, right now, we have 16 independent TV shows. Most of our shows have some type of exclusivity. Some of them, our new episode released shows right now are all completely exclusive and then we also have a deal with some shows where we’re the only place you can get them without ads and so what we offer our subscribers is some original programming that they can’t get anywhere else and some of the top shows that maybe difficult to find through all of the lesser quality series that are out there and available. People just aren’t going to watch ad after ad to get to bad show after bad show so we kind of serve as a curator and people know that every show on our network is worth a chance. I talk about HBO and Showtime a lot. I like the premium model and that’s really kind of, after it was created, we started using the identity that we are premium independent television network and it’s after the model of HBO without a cable subscription and so but you look at the quality of programming when one, you’re not thinking about sponsors, you’re not thinking about ads and two, the creator is just thinking about the creation of their project, that’s the only interest they have. It’s a better experience for the viewer and the fan and I sidetrack a little bit. I do that from time to time because the main reason for me mentioning HBO and Showtime again is when you watch a show at HBO or Showtime, because of that high standard of this is just the show the way the creator wanted to make it and then they execute it the way they want to make it and not worrying about the sponsors, you know that every show on HBO or Showtime is worth a chance at least looking at the pilot. It doesn’t mean you’re going to like every show on their networks but it’s worth a shot. And so that’s our goal is just to have such a high quality bar of content that our subscribers know that even if every single show is not their cup of tea, they’re going to give it a shot with a pilot because they may find a (jam) and a genre that doesn’t normally intrigue them but because the show is done differently, you are so special as a story, so good. They may find something that they like. And so the bar of quality is very important to us and so the two standards are great story, high quality story and that if you watch one of our shows on a TV, if somebody walked into the room, they would just think you’re watching any other TV network but it’s that quality. Michael London: Love your outlook on things, Carter. I truly do. So, help us if you will look into the future a bit. I have a Blu-ray player and I can get several channels on that plus Apple TV plus a satellite dish, will there be a time when we can look to consolidation at least with the delivery hardware? Carter Mason: Not any time in the near future but there’s already some consolidation happening. What’s happening is that smaller TV and I don’t know if smaller is the right word but not every TV platform, TV set or Blu-ray player right now has a capability of creating their own channel store or think it’s a good idea. So, you’ve got Yahoo TV widgets and Google TV channels that are starting. They’re both king at the (right angle). Google TV has got a little bit stronger. I think Yahoo is losing a little bit of its edge but we’ll see where that goes. I know that losing some of the newer sets and people are going more to Google TV platform and Samsung has its own, but I think they also have sets and players that work within Yahoo and Google both. And so there are so many different devices and technologies out that that there are entire companies that are springing up and their whole business model is being able to get your video content in the hundreds of different and it’s literally hundred. I think Netflix says, there’s like 800 different platforms that they accounted for because there are varieties within some of the platform. They may have had 10 different channels for one type of, or one company’s set of devices. That’s not going to change any time soon. They’re going to fight over it and they’re going to try to keep the proprietary. Roku’s proprietary, Roku’s got three million of their devices out there now, I think is the number and they’re not going to shift out of their platform and they don’t open it up to others, the user a few. So, the short answer, the long answer I guess is that there’s no real—there’s not going to be any real consolidation as a whole but there will be the major platforms for TV sets and players that you’ll start to be able to do one Google TV app or one Yahoo TV app and get on 10 or 20 or 30 and more devices which will help the situation but there won’t be consolidation to one. Michael London: Not exactly the answer I was looking for at the moment but you touched lightly on something that I’d like to dig a little deeper into and that’s new content. How would a producer catch your eye? Carter Mason: Well, the easiest way right now even though we’d get a lot of submissions, send an email to [email protected] and that will go to Keith who’s our head of acquisitions. He looks at pretty much everything right now and we plan on doing that for the near future but for the most part, we have been very selective and it comes from our relationships and closely monitoring the space to see what’s out there. But if somebody has a TV quality production that has not been released yet, we absolutely want to look at the pilot, at least to where whatever they have to show us, and to begin discussing because we believe that we have a better financial model even starting out like we are not writing near the side of the checks to be writing yet for royalties but for most of our shows, to use the limited exclusive shows for example where we’re the only place you can get it without ads, I haven’t asked them but even smaller checks (than we want to rate), they’re bigger than they’re getting from their ad based platforms. Michael London: Very cool. Now, once again, you hit on something kind of lightly, I want to dig a little deeper here as well. You said you’re getting a lot of your content through personal relationships which bring us to networking, which brings us to collaboration. How important is the collaborative community? Carter Mason: Collaboration has been enhanced in the independent TV community. A lot of people used the word web series. We don’t really use it especially for our shows because web series to us doesn’t convey TV quality and so you’ll hear me say indie TV or independent TV community or short-form television or the smaller episode shows a lot. But there’s so many websites connecting people and the independent TV community is pretty tight knit once you get into it and organizations like the (DW.TV) did a good job of trying to connect people to each other and to brightly sources as well. And you’re just seeing that people that could have never met 5 or 10 years ago connecting and developing amazing projects. I think you’re going to see more and more of that and filmmaking in general have moved outside of Los Angeles and there’s a lot of political factors there too like (Beta) California not competing with tax credits. There’s other places but then there’s just a fact that you don’t need as much being in LA the cost production has gone down so much, you can have a professional quality camera that movies are being shot on for a few thousands of dollars. Michael London: Oh, yes, the changing phase of almost everything via technology. Carter, what advice do you have for someone just beginning? Carter Mason: Well, I always say you have to have a business plan. It’s a business and so unless you have some source of money and you don’t care about getting a return, you cannot just make shows as art and expert to earn a living that way. You need to have a business plan. You need to find out your objectives. Right now in the space honestly, there’s no real sustainable model that is yet to be proven. I can show you that our numbers when we hit 50,000 subscribers, a 100,000 subscribers, we will be funding TV quality productions just based on royalty, not even like us doing original programming just shows on our network, we’ll be able to go out and pay people full rates. And so understanding your objectives which is part of a business plan is key. If you just want to showcase your work and then try to get future work, then make that a part of your business plan but your goals, have achievable goals. You need to know what you want out of the project and why you want to get into the space and if it’s to make a lot of money, right now, those opportunities are here and far between and so you’ve got to talk to a lot of people and find out who is making a living doing this and how they’re doing it and if that’s a price you’re willing to pay to do it and what I mean by a price that you’re willing to pay is most of the people that are able to make a living on independent television right now at least for the web are working for sponsors or branded entertainment which means you don’t have a 100% control on most situations of your content. Michael London: Well, I guess, there’s got to be a tradeoff somewhere along the way. So, Carter, what would be your parting shot? Carter Mason: Subscribe to JTS.TV, just kidding. Actually, yes, that would be great. We need subscribers and we do a three-day free trial but for the filmmaker, really try to be in tuned with what you want to do and what you want to achieve and look at that and then set your roadmap for where your life and do little things everyday that get you towards your goal. A lot of times we look for the homerun and really that’s not the way that anything ever is really achieved and even something that looks like a quantum leap is not a quantum leap, it’s the result of little things being done consistently and regularly and so if you already have a show, make sure that you are doing what you can to promote and network and get it out there everyday, not just at big events or in spurts. If you are looking to get on to productions, network all the time to find out who you can help out whether it’s paid or not paid. And then I would say advice for the fans is if you want to see these top quality shows go on, look at models like JTS.TV and actually spend the money rather than watching an ad that takes a fraction of a penny for your view, buy videos on demand from independent producers if you really like it. Donate if they’re not on a network like JTS.TV because I fear everyday about amazing creators who say they’re not going to make any more shows until they know the money is there because they can’t do it. So, if you want these shows to go on, subscriber to JTS.TV, buy videos on demand and donate a few kick starter and then to go campaign if there’s a project that you really think is interesting and you want to see it paid. Michael London: I got to tell you, man. I love your passion. I love your commitment. I wish you huge and continued success. Carter Mason: Thank you so much. I really appreciate the opportunity to share and I love talking about what I do. So, thanks for wanting to know more about JTS.TV and me and I really appreciate it. Thank you. Michael London: Thanks for listening to Spidcast. We appreciate your time and attention. You can now join the conversation at or on our Spidvid blog and you can join our collaborative filmmaking community at Tune in next month for another entertaining and informative episode of Spidcast.

8. Macro Film - Psychedelia

  • Published: 2016-09-22T10:05:38+00:00
  • Duration: 89
  • By Shelby Hawker
Macro Film - Psychedelia

April 2015 After experimenting with some materials I really like the milk, food colouring and Dish washing liquid experiment. Based on the array of colours and the ow that keeps your eyes xed on the screen I decided to choose music to t this aesthetic. I therefore decided on a playful, psychedelic look and feel and found music to go with this. I came across a few pieces of music but chose the nal one so that I could animate the visuals to the sounds of the voice. The music is a solo artist making noises with his mouth and he slowly adds other musical instruments in the background with his voice as the main sound you hear. His voice makes many dierent sounds and makes an audience laugh with these sounds. I start my video with poppy seeds oating on water and change the depth of eld in the shot which was then edited to go according to the sound. The shot then changes to poppy seeds left on a surface and water is poured into the container. This helps to transition into the next scene with the chalk piece falling into the vinegar and bubbles that formed from that action. There are a series of shots showing the piece of chalk reacting to the vinegar solution with chalk falling o and rising almost looking like smoke. Still on a chalk shot food colouring is added and starts to animate to the sound. The milk, food colouring and dish washing liquid formula is then alternated with the chalk shots layering the colour and animating to the sounds you hear. I then end o with the dish washing liquid in the milk - food colouring mixture which is fascinating to watch. The reaction starts creating shapes and colours by itself and you are able to see a flower hydrangea during this time. People can interpret the shapes themselves. I then end o with my name and details which is then animated to warp into the mixture as if it is a part of the chemical reaction.

9. The Inaugural Henry Cole Lecture: Sir Christopher Frayling, 30 October 2008

The Inaugural Henry Cole Lecture: Sir Christopher Frayling, 30 October 2008

The inaugural Henry Cole Lecture, held at the V&A Museum in London on 30 October 2008. The purpose of the lecture is to celebrate the legacy of the Museum’s founding director, and explore its implications for museums, culture and society today. The lecture, entitled 'We Must Have Steam: Get Cole! Henry Cole, the Chamber of Horrors, and the Educational Role of the Museum' was delivered by Professor Sir Christopher Frayling. He presented new research on the “chamber of horrors” (a contemporary nickname for one of the V&A's earliest galleries, 'Decorations on False Principles', that opened in 1852) and the myths and realities of its reception, then opened up a wider debate on design education and museums from the nineteenth century to the present day. Transcript: Mark Jones: The annual Henry Cole lecture has been initiated to celebrate Henry Cole's legacy and to explore the contribution that culture can make to education and society today. It has also been launched to celebrate the opening of the Sackler Centre for arts education, including the Hochhauser Auditorium in which we sit tonight. There could be no one better than Professor Sir Christopher Frayling to give the inaugural Henry Cole Lecture. Christopher is a rare being: an intellectual who is a great communicator; a theorist who has a firm grip on the practical realities of life: a writer who truly and instinctively understands the words of making design and visual communication. As an enormously successful and respected Rector of the Royal College of Art, as Chairman of the Arts Council, and as a member and chair of boards too numerous to mention - but not forgetting the Royal Mint Advisory Committee which has recently been responsible for redesigning the coinage (personal interest) and as by far the longest-serving Trustee of the V&A, he brings together culture, education and public service in a way which Henry Cole would have approved and admired. So it's more than fitting that he should be giving this first Henry Cole Lecture, 'We Must Have Steam: Get Cole! Henry Cole, the Chamber of Horrors, and the Educational Role of the Museum'. CHRISTOPHER FRAYLING: Thank you very much indeed Mark and thank you very much for inviting me to give this first Henry Cole Lecture. Just how much of an honour it is for me will I hope become clear as the lecture progresses. Mark, Chairpeople, ladies and gentlemen: Hidden away in the garden of the South Kensington Museum - now the Madejski Garden of the V&A - there is a small and easily overlooked commemorative plaque that doesn't have a museum number. It reads: 'In Memory of Jim Died 1879 Aged 15 Years, Faithful Dog of Sir Henry Cole of this Museum'. Jim had in fact died on 30 January 1879. He was with Henry Cole in his heyday, as the king of South Kensington - its museums and colleges - and saw him through to retirement from the public service and beyond. And next to this inscription there's another one dedicated to Jim's successor, Tycho, and dated 1885. The dogs are actually buried in the garden. Now we know from Henry Cole's diary that between 1864 and 1879 Jim, who was a cairn terrier, was often to be seen in public at his master's side. In 1864 they were together inspecting the new memorial to the Great Exhibition of 1851 just behind the Albert Hall - a statue of Prince Albert by Joseph Durham on a lofty plinth covered in statistics about the income, expenditure and visitor numbers to the Great Exhibition: 6,039,195 to be exact. Cole had been a tireless champion of Prince Albert and according to the Princess Royal (later Empress of Prussia) there was a family saying in Buckingham Palace at the time, invented by Albert himself, that when things needed doing 'when we want steam we must get Cole'. We may therefore assume that when looking at the memorial, Cole was interested in the inscription, the statistics and the likeness of Prince Albert, while Jim was more interested in the possibilities of the plinth. In early 1866 - these are five studies of Jim, an etching by Henry Cole himself of 1864. In early 1866, first thing in the morning, soon after the workmen's bell had rung, Henry and Jim would set forth together from Cole's newly constructed official residence in the Museum (where he moved in July 1863) to tour the building sites of South Kensington - a name which was first invented by Cole when he re-named the museum The South Kensington Museum to describe the new developments happening around Brompton Church. According to 'The Builder' magazine, these two well-known figures would 'be seen clambering over bricks, mortar and girders up ladders and about scaffolding'. Several buildings in the South Kensington Renaissance Revival style were springing up all around them: The Natural History Museum, The College of Science, the extension to this Museum. And on the morning the Bethnal Green Museum opened - 24 June 1872 - Jim showed a healthy distaste for his master's well-known predilection for pomp and circumstance. Henry Cole had changed into his court suit to join the royal procession and as he emerged from his bedroom on the great day, Jim was completely pole-axed. 'Seeing me in uniform,', wrote Cole, 'he stood motionless at the top of the stairs instead of rushing down [as he did] every morning.' (I think he's doing that on the right.) Maybe Jim had got wind of the fact that the lower floors of the Bethnal Green Museum were entirely devoted to the 'animal products collection' banished from South Kensington. The collection, which had mainly been gleaned from the Schools of Design or the 1851 Exhibition, included among the textiles - and I quote from the catalogue - 'a pair of cuffs hand-spun and knitted from the hair of French poodle dogs'. No wonder Jim stood motionless at the top of the stairs. But the dutiful terrier also accompanied his master on numerous summer holidays to Elm Cottage in the village of Shere - between Guildford and Dorking - where Cole would go and think up yet more schemes and campaigns for South Kensington. So when 'King Cole' was affectionately caricatured by James Tissot in Vanity Fair in 1871, the seven-year-old Jim was there at his side. Cole was somewhat vertically challenged - and Jim on his hind legs may have been put in, for scale. Work it out. His master was by then well known for his flowing white hair, his whiskers, his frock coat with flapping coat-tails, his bulging waistcoat and baggy trousers. And a couple of years ago the Director Mark Jones asked me to contribute an image to the V&A's 150th birthday album - and so it was to this one that I turned. My caption read, 'Henry Cole's faithful and inseparable terrier Jim was around for much of chapter one of the V&A's building. Master and dog were both terriers. Jim apparently enjoyed making a great exhibition of himself - and so, of course, did Henry Cole.' Jim was, as you'd expect, a very obedient dog. The standard and best-selling book on the training of dogs in Jim's lifetime was called 'Dog Breaking - The most expeditious, certain and easy method whether great excellence or only mediocrity be required', and it was written by one Colonel W N Hutchinson, late of the Grenadier Guards. It had originally been published by John Murray in 1848 - around the time Cole had his first thoughts about a Great Exhibition - and there were regular editions appearing right up until the turn of the century. This was the standard work. The point of the book was to persuade dog-owners to abandon the harsh methods of dog breaking - the whip, the spiked collar, the bellowing voice - in favour of constant encouragement, understanding the dogs' different dispositions and using easily recognised words, signals and whistles. Colonel Hutchinson explicitly made the analogy with human forms of education, from the most basic forms to 'the future double-first collegian'. 'They begin and proceed on the same principle … Believe me, the perfection I have described can never be attained with great severity or flogging.' The redoubtable Colonel was here denying the famous distinction later made by William Morris between education and training: education - said Morris - was what you did with human beings; training was what you did with dogs. Henry Cole certainly knew a thing or two about flogging from first-hand experience. Here he is, describing some experiences he had at Christ's Hospital School near the City of London, where he was educated from age eight onwards, and where he had - as he later wrote - 'a rather unhappy time of it'. This was putting it mildly. Christ's Hospital at the time - and it was the time of 'Tom Brown's Schooldays' - was notorious even among public schools for its harsh regime of corporal punishment. Cole wrote, 'Half our parrot knowledge was frightened out of us by the headmaster's impatient knock at the door and then his fussy entrance … In the morning at the slightest trip, he would thrust his hands into his breeches pockets hastily groping for his keys - unlock the desk in a bungling way, which increased his anger, and seizing a cane he would rush at the head of the boy before he called for the palm of his hand. We all dreaded him and we all hated the sight of him. He was like an ogre always thirsting for the blood of little boys. I don't remember his ever giving one single word of encouragement.' No wonder the result was what Cole called parrot knowledge. 'As for the meaning of the words in my grammar,' he said, 'or the sense they conveyed, I had not the dimmest glimmering.' This was a classroom atmosphere immortalised several times by Cole's near-contemporary Charles Dickens, who came from a very similar family background, and whose path would often cross or parallel Cole's during the course of his public career. They served on committees about intellectual property and about working-class visitors, the Great Exhibition and many other committees. But on the one occasion Henry Cole himself was directly satirised in a Dickens novel, he was on the side of the headmaster rather than the boys; on the side of the man who pours children full of imperial gallons of 'useful facts', bare unconnected facts and figures and averages until they are full to the brim with them rather than introducing the children to the world of imagination, creativity and wonder - which is one of the main themes of the novel. Hard Times, Chapter Two, published in Household Words as part of the first instalment on 1 April 1854, is called 'Murdering the Innocents'. It is set in the 'bare monotonous vault of a school room' in industrial Coketown with Mr Gradgrind, the schoolmaster Mr M'Choakumchild, and a third gentleman standing in front of the class. The chapter begins with Sissy Jupe, the uninhibited circus girl - or rather girl number 20 - struggling to give a definition of a horse: '"Girl number twenty unable to define a horse!" said Mr Gradgrind, for the general behoof of the little pitchers. "Girl number twenty possessed of no facts, in reference to one of the commonest animals! Some boy's definition of a horse please. Bitzer, yours." Bitzer is a pale, cold-eyed little boy with short-cropped hair and bad skin. "Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in spring … Age known by marks in mouth." 'This (and much more) from Bitzer. '"Now girl number twenty," said Mr Gradgrind, "you know what a horse is." … The third gentleman stepped forth. A mighty man at cutting and drying, he was: a government officer; in his way (and in most other people's way too), a professed pugilist; always in training, always with a system to force down the general throat like a bolus, always to be heard of at the bar of his little Public-office, ready to fight all England. He was certain to knock the wind out of common sense, and render that unlikely adversary deaf to the call of time. And he had it in charge from high authority to bring about the great public-office Millennium, when Commissioners would reign upon the earth. "Very well," said this gentleman, smiling and folding his arms. "That's a horse. Now, let me ask you girls and boys, Would you paper a room with representations of horses?" After a pause, one half of the children cried in chorus, "Yes, sir! Yes, sir!" Upon which the other half, seeing in the gentleman's face that Yes was wrong, cried out in chorus, "No, sir! No, sir!" - as the custom is in these examinations. "Of course no. Why wouldn't you?" … A pause. "I'll explain then," said the gentleman, after another and a dismal pause, "why you wouldn't paper a room with representations of horses. Do you ever see horses walking up and down the sides of rooms in reality - In fact? Do you?" "Yes, sir!" from one half. "No, sir!" from the other. "Of course no," said the gentleman, with an indignant look at the wrong half. "Why, then, you are not to see anywhere, what you don't see in fact; you are not to have anywhere, what you don't have in fact. What is called Taste is only another name for Fact." Thomas Gradgrind nodded as an approbation. "This is a new principle, a great discovery," said the gentleman. "Now I'll try you again. Suppose you were going to carpet a room. Would you choose a carpet having representations of flowers upon it?" "Girl number twenty," said the gentleman smiling in the calm strength of knowledge. Sissy blushed, and stood up. "If you please, sir, I am very fond of flowers."' That Charles Dickens had Henry Cole in mind when he wrote of the third gentleman is shown by the manuscript notes he took about the plot, the characters and the story, which are now in the Forster Collection at the V& A. Dickens wrote on these notes: 'Chapter I, "Teach these children nothing but facts"; Chapter II, "Mr Gradgrind. Marlborough House Doctrine". Cole.' Evidently, Henry Cole wrote to Dickens - in a surprisingly generous spirit - about this government official in Hard Times, the third gentleman, because on 17 June 1854, a couple of months after first publication, Dickens tactfully responded: 'Dear Mr Cole … I have in fact retreated to Boulogne to pass the summer in the society of your friend Mr Gradgrind and others, free from the disturbance of London … I often say to Mr Gradgrind that there is reason and good intention in much that he does - in fact that all that he does - but that he overdoes it. Perhaps by dint of his going his way and my going mine, we shall meet at last at some halfway house where there are flowers on the carpets, and a little standing-room for Queen Mab's chariot among the Steam Engines. Faithfully yours, Charles Dickens'. The end of Hard Times is actually very similar. Mr Thomas Gradgrind comes to realise - as he confides, quietly, to his daughter, Louisa - 'I have a misgiving that some change may have been slowly working about me in this house, by more love and gratitude; that what the Head had left undone and could not do, the Heart may have been doing silently.' The carnival girl Sissy Jupe, girl number 20 in the schoolroom, has worked her magic in the Gradgrind household at Stone Lodge, Coketown. Now this exchange is important, because what Dickens and Cole were writing about was the very origin of this Museum, and where its heart really was: The Marlborough House Doctrine. Cole had managed in 1852 to cut through the red tape and move most of the Government School of Design, which up to then had been in Somerset House in the Strand, to Marlborough House in Pall Mall - with strong support from Prince Albert - together with the School's large collection of plaster casts of the greatest hits of European sculpture and decorative art which the students were expected to copy. And on 19 May 1852, only a month after his Department had moved in (Cole never wasted time), Cole's Museum opened its doors to the public for the first time in a suite of rooms and galleries on the first floor of Marlborough House, Pall Mall. Its intended reach was very ambitious: the specialised students of the School of Design; manufacturers or members of the manufacturing population, who it was felt needed to know about design; and members of the public, who it was felt needed to learn about the principles of design so that they could become rational consumers. In fact, Cole and friends couldn't settle for a while on the name of the Museum, which is always an ominous sign. Was it The Museum of Manufactures - its original name, or The Museum of Ornamental Art - which it soon became, or, as this handbill announcing the opening puts it, was it a bit of both - a Museum of Ornamental Manufacturing? And right to the last minute, Cole can't make up his mind. Branding, ladies and gentlemen, had yet to be invented. Was it predominantly aimed at design students, or at the trade, or at the public, who came in free on Mondays and Tuesdays? Whoever it was predominantly aimed at, Cole was personally very clear about the heart of the project: 'Taste has its principles as well as morals, which people understand and know … I think to act upon the principle 'everyone to his taste' would be as mischievous as 'everyone to his morals'; and I think there are certain principles of taste which all eminent artists are agreed upon in all parts of the world.' As he added in his first report on a year in the life of the Museum - a very important statement: 'Notwithstanding the indifference to the principles of Ornamental Art which is too prevalent in the present age … There are signs that the existence of laws and principles in Ornamental Art, as in every branch of human science, is beginning to be recognised. Indeed, without a recognition of them, we feel that Schools of Art can make no progress. Collections of Art will, we think, be most instrumental in helping to form a general belief in the scientific principles.' So it wasn't a matter of aesthetics: for Cole it was a matter of science, a science that went right back to the Greeks. There were certain basic principles which applied to design and which could be learned. The Great Exhibition had shown for all to see that not enough manufacturers or designers in Britain fully understood that science. It had also shown the crying need for a popular 'collection of art' in London. Marlborough House opened with a double bill: the annual exhibition of designs by students at the Government School - this is the drawing that won the very first prize at the Government School of Design taken from a plaster cast - and some examples of modern manufactured goods - predominantly Indian fabrics and metalwork, French porcelain, vessels from Turkey and Italy and a few English things as well - purchased with a grant of £ 5000, sanctioned by Parliament, from the last days of the Great Exhibition of eight months before. This was the first-ever purchase grant the Museum [ever] received. The Marlborough House exhibition stayed open for 17 trial days in May and June 1852 and then closed for the summer vacation to make 'more permanent arrangements'. This had been, in effect, the inaugural exhibition in the V& A's history. When Marlborough House opened permanently on 5 September its holdings in the history of decorative art had been expanded - from the Royal Collections and Hampton Court, among others - and it featured a completely new attraction in the corridor which led to the Exhibition rooms, which would be the first thing every visitor experienced. 'The Times' on 6 September reviewed this gallery, which was called 'Decorations on False Principles'. 'The ante-room,' said The Times, 'is fitted up as a sort of "chamber of horrors" - the chamber of horrors with a collection of all kinds of so-called ornamental manufacture, which are considered to exhibit false principles of decoration, such as vulgar and inharmonious colouring, want of meaning and unity in pattern, graceless imitations of natural forms etc. The department, in giving its reasons for condemning the individual examples here shown, afford the public an ample opportunity of testing the accuracy of the canons it enforces in its instruction to the students.' It's actually been suggested that Cole himself ghosted this article for The Times. If so, it was he who adapted the phrase 'Chamber of Horrors' from Madame Tussauds to a museum of design. Cole's report of the Department explained a little more: 'A small portion of the Museum has been fitted up (same phrase as in The Times) with specimens of all kinds of manufactures, carpets, paper hangings, silks, metals, glass, pottery - which appear to illustrate departures from those principles of art which are recognised in the department.' Eighty-seven items in all. The exhibits started life as visual aids purchased by the Government School of Design for use in its lectures to the students: Owen Jones lecturing on 'true and false principles', Richard Redgrave RA on 'instruction in Art', John Lindley the botanist on evolution of design, and the evolution of vegetable forms known as art botany. And they were interspersed with large format placards - eight of them - explaining the 'Principles of Decorative Art', some of them derived from Augustus Pugin's two lectures on 'The True Principles [as opposed to the false principles] - The True Principles of Pointed or Christian Architecture', which had been published some 11 years earlier. Pugin had in fact joined Cole, Redgrave and Owen Jones on the 'Purchases Committee', selecting the objects for the Museum from the 1851 Exhibition shortly before he fell ill; and they'd argued about quite a number of objects which irritatingly exhibited some good principles and some bad ones - both at the same time. Very irksome. Skill in workmanship, but defective in principles of design; crude workmanship, with correct principles of design. Art, or workmanship, or both. So, should they be purchased for the Museum or not? In the end, they agreed to differ by saying in the catalogue 'most examples have a mixed character'. But the placards had no such doubts at all, and these are the basic principles: in designed objects, ornament should be appropriate to function (which didn't mean form follows function, but, for example, that it was okay to put reeds on a water carafe, because reeds were about water, if you see what I mean). So, the ornament should be appropriate to the function which doesn't mean it should be functionalist. Ornament should be sympathetic to the material from which the thing is made and take account of the way it's constructed; all beautiful forms should relate in some way to the principle of utility; on flat surfaces, ornament should be two-dimensional and not try to be three-dimensional with shadowing; natural forms should be abstracted and formalised not imitated and shown in perspective - they should be stylised and flat; the forms of the past should never be copied but only studied to understand their formal principles. As the third gentleman in Coketown says, with only a little exaggeration, 'You don't walk upon flowers in fact; you cannot be allowed to walk upon flowers in carpet.' And none of this had anything to do with 'styles', they insisted; it was about 'exemplifying some right principles'. Cole wrote delightedly that, 'This room appears to excite far greater interest than many objects the high excellence of which is not generally appreciated. Everyone is led at once to investigate the ornamental principle upon which his own carpet and furniture may be decorated, and the greatest benefit to manufacturers may be looked to from the investigation.' To rub the point in, Owen Jones added: 'There are here no carpets worked with flowers whereon the feet would fear to tread … no superfluous and useless ornament which a caprice [or fashion] has added and which an accident might remove.' Perish the thought. Dickens and Jones were clearly reading the same hymn sheet. One visitor to the exhibition was in fact Charles Dickens - and he must have read and digested the catalogue notes as well. On 4 December 1852 - three months after the re-opening - he featured on the front page of his Household Words magazine a very amusing article by Henry Morley called 'A House Full of Horrors'. And this was about one Mr Crumpet of Clump Lodge, Brixton, a quiet City banker whose visit to Marlborough House and study of the catalogue on the omnibus home convinces him of just how incorrect his own taste has been. 'For the last five weeks I've been haunted by the most horrid shapes,' he says. 'When I come home a dozen hideous forms glare at me in the hall. My snug parlour maddens me; the walls and floor are so densely covered with the most frightful objects; the persons of my wife and daughter are surrounded by these horrors … The matter is this: I have acquired some Correct Principles of Taste. Five weeks ago, I went to … Marlborough House, to look over the museum of ornamental art … I could have cried, sir. I was ashamed of the pattern of my own trousers, for I saw a piece of them hung up there as a horror … ' Mr Crumpet goes to visit his old friend Mr Martin Frippy, a gentleman, at Chimborazo Lodge, Stockwell, and can't stop himself from commenting on the horrors he encounters there - including several featured in the exhibition: loud checked trousers; a handkerchief with Sydenham New Palace on it; wallpaper with a railway-station motif; several floral chintzes; on the carpet, pictures of an ornamental gothic ceiling; a piece of calico with race-horses printed on it; convolvulus blossom on the curtain rail; a tray featuring a bit of one of Landseer's pictures; a glass jug with a handle in the shape of a cobra. Just as Mr Crumpet is about to distract himself with a consoling cup of tea, he notices with a cry of agony that there's a butterfly painted inside the cup. How horrible! At that point, he has to be taken home to Brixton, a gibbering wreck. Mr Frippy has a more balanced view - rather like Mr Gradgrind after his conversion and Mr Cole in Dickens's letter: 'I see sense in a good deal of what you've said, though I think it's just a leetle overdone … You've picked some wholesome views up here, but you've swallowed them too eagerly and you've choked yourself … we say in this country there's no accounting for taste.' The False Principles Gallery has often been mentioned in books and catalogues, but there's never, so far as I know, been a close look at exactly what it contained. One of the problems is that none of the objects seems to have been given a museum number at the time when they were moved from Marlborough House to South Kensington in 1857. It was as if they didn't deserve to be in the collection proper. Some have survived though, or been rediscovered, to be registered since the 1920s - and one or two are even on show in the British Galleries today. An over-ornate silver candlestick in the style of Louis XV was registered in the year 2000, 148 years after it was first exhibited in Marlborough House. With a lot of help from curators in the Museum, I've managed to piece together for this lecture 17 objects out of the 87 originally shown, or just under a fifth of the exhibition. So, like Mr Crumpet, or indeed like Charles Dickens, let us enter Marlborough House, catalogue in hand, and go straight to the gallery marked Decoration on False Principles. We start immediately with the first of the display boards, then exhibits 1-9 are carpets, including several with flowers directly imitated from nature - and out of scale with each other - and one featuring pierced gothic panelling on the carpet. This is the one mentioned in 'Household Words'. Then exhibits 10-14, furnishing chintzes. Here are numbers 10, 11 and 12. No.10: direct imitation of nature, naturalistic floral designs printed on cotton, wrong shading, too much perspective. 'The decoration of chintzes seems at present to be of the most extravagant kind, the lightness of the material will not carry such a heavy treatment. The taste is to cover the surface almost entirely with large and coarse flowers.' False. Here's No.11: same. Even worse, here's No.12 - very similar to No.11, and may be part of the same exhibit - and this had been put in the Great Exhibition by one of the most popular furnishing shops in mid-Victorian London. No matter. 'The ground which should be light in a chintz is entirely obscured by the pattern. General want of repose.' Too dark, too dense, too real. Then exhibits 15-20 are silk hangings. Here's No.16. Such hangings should, said the catalogue, provide a background to the furniture and occupants - like a domestic picture. The design should be subdued, not too much contrast, it should be flat and conventionalised. And there's a quote from the sainted Pugin to reinforce this message. Then, numbers 21-36, Paper and Other Hangings. No.27, perspective representation of a railway station, as mentioned by Henry Morley, colour print from wood blocks, a design frequently repeated and falsifying the perspective. 'The Builder' magazine actually took issue with this kind of criticism: it had, it said, nothing against pictorial wallpapers at all, so long as they were confined to 'the houses of the humbler classes of society'- and provided the subject-matter was educational. Unfortunately, the railway station wasn't educational. Perhaps No.28 was: perspective representation of the Crystal Palace and Serpentine, with flights of steps and surrounding architectural framework. No, 'same error as No.27'. So Great Exhibition souvenir wallpaper was out. Then, there were these two, which were also out, showing details of Gothic architecture piled on top of one another: this is No.31: 'false principles - imitation of architecture', and Number 36 - also imitation of Gothic architecture - in this case, a busy design of an arch, with figures in red firing rifles and a blue ornate surround. It's interesting that Pugin had published and fiercely attacked this pattern of Modern Gothic Paper in his True Principles of Pointed or Christian Architecture, because this illustration from Pugin has a very strong family resemblance to both No.31 and No.36. And here's paper hanging No.35 - this is the real coup of this lecture ladies and gentlemen - because it's horses, water and ground floating in the air - landscapes in perspective with race-horses. When the Government Inspector in Hard Times asks the Coke Town schoolchildren 'Would you paper a room with representations of horses?' he must have had this very wallpaper in mind, because this was the horses wallpaper of the Marlborough House exhibition. 'Do you ever see horses walking up and down the sides of rooms in reality - in fact?' Well, here they are - matched up at last. And No.36a has perspective representations of architecture employed as decoration, and at the bottom, in different perspective, a battle complete with a cavalry charge. Then, Nos 37-60a, Garment Fabrics - apparently with examples of gaudy, floral or over-large designs - 'over-ornamented with violent contrasts, not taking account of the material and folds'. For example, striped shirts or trousers where the stripes are much too big, like Mr Martin Frippy's. Nos 61-79 are Porcelain and Glass. And here are the only illustrations to be found in the catalogue to the Chamber of Horrors, one of a Jelly Glass - the top one, No.64 - 'the natural outline of the glass when blown completely destroyed by the surfaces being cut', and one of a glass flower vase below - 'the general outline entirely destroyed by the vertical cuttings'. The other items mentioned on this page include a butter dish, a wine glass, some goblets, vases, and at the bottom, a pair of scissors imitating a stork, with the body of the bird opening in half when the scissors are opened. At No. 79, we have a papier-mâ ché tray, of a kind 'which students should carefully avoid', because it has just about everything wrong with it. At the centre is 'the piracy of the detail of an oil painting' in the collection of the Duke of Devonshire. The picture is 'thrown away' when the tray is in use: it will be covered by what's being served. The scroll lines don't follow the outer form. And the glitter of the mother-of-pearl doesn't go with the gilt border or with the painting. All in all this tray is, quote, 'ill arranged - and creates the impression that the article is slopped in water and perforated with holes'. Henry Morley's reference to 'a tray with a bit of one of Landseer's pictures on it' - found in Mr Frippy's Stockwell Villa - is evidently a reference to this papier-mâ ché tray, which was manufactured in Birmingham. Finally, exhibit Nos 80-87 are in the category Metalwork, a section which begins with another quotation from Pugin on ornament being applied wrongly to disguise not beautify an article of utility - extravagance used to conceal its real purpose. Such is No.80, a brass and white-glass curtain-rod holder one of a pair - in the shape of an open flower with leaves. Or No.83, this gilt-brass and glass Gas Burner. 'Gas flaming from the petal of a convolvulus!' says the catalogue. 'One of a class of ornaments very popular but entirely indefensible on principle.' (This one was very recently found by Michael Snodin, who I think is in the audience.) This was yet another example, quote, 'of the ignorant search after the merely novel'. Or No.85, which sounds extremely bizarre - an opal liquor bottle in the shape of a pink snake. That sounds very strange. Just like Mr Frippy's glass jug with a handle in the shape of a cobra. Or this, No.86, an earthenware Bread Plate made especially for the Great Exhibition by a firm in Stoke-on-Trent to show off the latest developments in polychrome painting and printing. It shows in realistic detail Christ and the Pharisees with the quotation round the neck from Matthew 12:57. Whatever its scriptural credentials, the catalogue said: 'A very good example of painting applied to the decoration of pottery, but the surface being wholly covered is objectionable, and the religious picture, besides being out of place in the centre of a bread plate… the mottos are very inappropriate to the intended use.' Maybe if they'd been about the Feeding of the Five Thousand ornament would have followed function. So, to the final exhibit, No. 87, candlestick, electroplated silver, in the style of Louis XV. 'Observations - An example of the extreme faults of this style; symmetrical arrangement being rejected as a principle, and structured form disregarded, the whole appears the result of chance rather than design. The base is formless, confused and too heavy for the stem, which is in turn structurally broken in two places; all that is attained by this sacrifice of structural principles is the mere glitter of metal.' Mr Crumpet - his head crammed full of all these true and false principles - didn't actually make it into the Museum rooms proper. He just went into the curtain-raiser, he then staggers home to Brixton, exhausted and ashamed of his own trousers, resolved, when he could afford it, as he says, to send Mrs Crumpet's best gown to the gentleman at the Museum as a particularly choice example of a horror. Now much has been made in the literature of these true and false principles, especially since Nikolaus Pevsner hailed them in the 1930s as distant prophecies of the Modern Movement in architecture and design. But the closer one looks at them, the less modern - and even consistent - they become. And I think it's worth pausing for a moment to compare the Chamber of Horrors with Henry Cole's own taste at this time, in so far as it can be recovered. Cole was unique among senior civil servants involved in art education - then or now - because he'd actually taken a course in watercolour under David Cox when young, and his sketches had been exhibited at the Royal Academy. We've seen his etching of the terrier Jim. His design work was shown from the mid-1840s onwards, under his favourite pseudonym of Felix Summerly - Felix meaning happy, Summerly meaning sunny: very Henry Cole - and his best-known piece is this inexpensive Etruscan tea set, which won silver at the second Society of Arts exhibition of manufactures. And having decided to enter the competition, to understand the deep principles of tea sets, Cole went straight to the British Museum: 'The forms in principle are new combinations of the best Etruscan pottery, with ornaments at the handles superadded and designed so as not to interfere with the simplicity of the outlines … The Milk Pot has three lips [on the left] like some articles of Etruscan pottery.' He then visited Herbert Minton at his pottery in Stoke-on-Trent, and with a little technical help, manufactured the set in red unglazed clay - which was how it was originally exhibited. Prince Albert immediately ordered one for use on the breakfast table at Balmoral, and Cole presented a set to the Museum, quote, 'as a link in the circumstances leading to that Great Exhibition, which sowed the seeds of the beginning of the … Museum itself.' This certainly isn't an example of proto-Modernism - in retrospect it, too, is very characteristic of its time, with Greek historical references; its urge to tell a story; its showing off, though admittedly not as much as some of the pieces in the Chamber of Horrors. But another more personal example of Henry Cole's own tastes in the 1850s is evidenced by a fascinating series of snaps he took on 18 May 1856 of the drawing room and bedroom at Elm Cottage, his country retreat in Shere, Surrey. These photos were made in the year he purchased the very first example of the art of photography for the Museum's collection; and they were acquired by the V& A as recently as 1987 to add to that collection. There are three photos of the drawing room - some with watercolour retouches by Cole - and one of the bedroom. The contrast between daylight and dark isn't always successful but the glimpse of Cole's domestic arrangements is fascinating - very rare to have photographs of domestic interiors of this kind. The interiors are filled with the clutter of pictures and ornaments - plus Cole's carefully posed daughters: May(on the left), Tishie (in the middle), and Hennie, seated. This one of the drawing room - you can't really see it - but the framed item on the right is a lithograph of the nave of the Crystal Palace, on the floor, a portrait of Cole in his twenties, and behind them, geometrical, flat wallpaper - which he had selected in London, with Richard Redgrave RA for moral support,on 22 February 1856. Another of the drawing room has inset fragments of stained glass in the window, and on the table a Parian ware Shakespeare; and one of the rarer products of Felix Summerly's Art Manufactures - the 'Bride's Inkstand' - in the middle. In this one Cole's daughter Mary stands in the bedroom, with its very busy curtains, the wallpaper again, and on the left Shaker-style pegs for hanging things up. Again, not exactly proto-Modernism, although the wallpaper does indeed obey some of the Marlborough House commandments: it doesn't imitate nature, it repeats well, and it takes account of the dimensions of the room. Two other quick examples of good principles, to give an idea of the good to set against the bad by Cole's advisers. Richard Redgrave's 'Wellspring' water carafe, 1847 - for Felix Summerly's art manufactures: reeds on a carafe were okay; a liquor bottle in the shape of a pink snake was not. It's a fine distinction. So ornament appropriate to function is okay. And then, two wallpapers by Pugin: this one a design of 1851; this one, 1850, for the Duke of Devonshire in Co Waterford to set against the Crystal Palace, the railway station, and all those other wallpapers. This was okay. The Chamber of Horrors finally closed in June 1853, after ten months - not after two weeks as most of the books say. [-] [but after 10 months.] According to Henry Cole, although the Chamber had proved a big public success, and certainly a talking-point around town, the manufacturers had raised an outcry. Several of the exhibits were commercially very successful, however unprincipled they might be from a design point of view. Chintzes and pictorial wallpapers then and now were particularly popular. After ten months, perhaps the exhibits looked a bit dog-eared as well. Unfortunately, there are no illustrations of what the Chamber as a whole looked like - or indeed any of the galleries - in the early part of Marlborough House's history until around the time of the move from Marlborough House to South Kensington in 1857, some four years later. Here are three watercolours to show what Marlborough House looked like - to give you the flavour - in 1856-7. This is the second room in Marlborough House, not the Chamber of Horrors corridor which by then had gone. Another room, 1856. The sixth room, 1856-7. So you get a sense of what the room would have looked like. By that time, the original tripartite aims of the Museum - to offer exhibitions and facilities to the benefit of design students, interested members of the manufacturing population, and the public - were beginning to fade. It is a story that has often been told. The Museum of Manufactures became the Museum of Ornamental Art and then the South Kensington Museum, which in the 19th century became less and less interested in specialised design education and contemporary design, more and more in antiquarianism and possession, until in 1880 all the modern objects were finally banished - that was the word they used - banished from the Museum to Bethnal Green - including Henry Cole's tea set, which upset him mightily. He even thought of asking the Museum to give it back. John Charles Robinson, the great Victorian curator and scholar who founded the Medieval and Renaissance holdings of this Museum, wrote with evident pride at the end of the century - after Cole had gone: 'There was, in truth, little of abiding value in the 1851 Exhibition residuum, and the first efforts of the new curator [him] were to suppress and eliminate a large proportion of it.' Contemporary work - or what Robinson called 'the fluctuating styles of the passing hour' - were out; 'the acknowledged canons and masterpieces of all time' were in. The typologies that Cole, Redgrave and Jones had used in 1852 to make the exhibitions an active educational experience with explicit criteria of judgement and avoid accusations of simply accumulating treasure - something Cole was very sensitive about - had long gone. The Department of Practical Art became the Department of Science and Art in March 1853. The Schools of Design became the Art Training Schools in March of the same year. And some of the workshops and practical classes - in Textiles, Metalwork, Furniture and Painting on Porcelain as distinct from the national curriculum in elementary drawing - which had moved from Somerset House to Marlborough House, did then move to South Kensington, but within two years they had all been closed. The rhetoric of stimulating manufactures through examples of good design - old and new, copies and originals - of training members of the manufacturing population in design awareness and purchasing objects or casts to inspire the design students, the rhetoric was still used when pitching for government resources, but from the 1860s onwards it had an increasingly hollow ring to it. Cole of course kept flying the flag, but even his arguments were beginning to shift their ground. It was now more a question of education in the broader sense, improving national taste, as he put it, through visits to a treasury for public education. 'Museums may furnish a powerful antidote to the gin palace,' he wrote in autumn 1857, and the important thing was to arrange the exhibits 'so clearly that they may woo even the ignorant to examine them.' In a famous and often-quoted speech about the role of museums which he gave in Birmingham in 1874, he said: 'Schools of art are there to instruct chiefly the young, but Museums are there to instruct both the young and the old … they are temples where all can worship in harmony; they teach good habits of order, and cleanliness and politeness … Museums are antidotes to brutality and vice.' Here's Cole and Redgrave photographed we think by Charles Thirston Thompson. Even though he'd moved from specific didactic instruction to general aesthetic inspiration, Cole still spoke and wrote with the High Victorian moral certainty he'd shown in the original catalogue for Marlborough House in the glory days of 1852. What he'd said then was, 'by proper arrangements a Museum may be made in the highest degree instructional. If it be connected with lectures, and means are taken to point out its uses and applications, it becomes elevated from being a mere unintelligible lounge for idlers into an impressive schoolroom for everyone.' He was quoted at the opening of this Centre I think. One turning-point for Cole was the London International Exhibition of 1861, which had missed its deadline and was rescheduled for 1862 - it was as if the Olympics were to happen in 2013. The Exhibition's stated mission - to show how far British manufacturing and education had advanced since 1851 - was bound to lead to disappointment and even disenchantment with the 'South Kensington system' as by then it was known. And to some extent it did indeed lead to disenchantment. Ten years was much too short a time seriously to take stock. The building, south of the Royal Horticultural Society's gardens on the Museum side of the street, was controversial, and it was written up as ugly and featureless. And the layout was far too cluttered this time, with a deep, gloomy colour scheme chosen by Henry Cole himself, unlike Owen Jones's light primary colour-coding for the interior of the Crystal Palace in 1851. A visitor to the opening of the 1862 Exhibition described this entrance hall. The ceremony began with a stirring rendition of the Hallelujah Chorus. After that it was downhill all the way: 'The Groves of Blarney were order and good taste in comparison - the conglomeration of organs, telescopes, light-houses, fountains, obelisks, pickles, furs, stuffs, porcelain, dolls, rocking-horses, alabasters and [a statue of] Lady Godiva which reduced the nave to a striking similitude of a traveller's description of Hog-Lane, Canton.' I fear that an ancestor of mine may have contributed to this chaos of sound and vision. Because one of the organs proudly exhibited in 1862 - and it won a prize - was a large mechanical orchestrion designed by my great-grandfather, Daniel Imhof, on my mother's side. He'd emigrated from South Germany after the Revolution of 1848 and set up in New Oxford Street a shop and showroom selling clocks, barrel pianos, musical boxes, orchestrions and organs - with his business partner Leopold Mukle. Duplicates of the 1862 orchestrion were available for sale at Imhof's Euterpeon room in Oxford Street. 'The orchestrion,' said the handout, 'is capable of giving expression to the music played, with greater ease than any other instrument ever made. [All the music is arranged by Daniel Imhof himself.] Only two winding places! An abundant supply of wind! A tempo regulator! The mechanisms of the orchestrion will be found to work without the slightest noise, and is guaranteed to remain so.' Now I've heard a similar model in action - and the mechanism may be quiet, but the noise it made when wound up is indescribable. It must have blasted the other exhibits to kingdom come. Anyway, the point is that by 1862 the tide was turning. [… ] One of the sternest and most consistent critics of the Marlborough House Doctrine and of 'the South Kensington system' was John Ruskin, a writer whose work on education Henry Cole knew well. He'd even reviewed The Seven Lamps of Architecture, saying that Ruskin should stop setting his back against the modern world and against the wider distribution of art. Well, a little later on, in reaction against the teaching by true and false principles, John Ruskin famously wrote, 'The education of the young artists should always be a matter of the head, the heart and the hand'. Art and design must be produced by the subtlest of all machines which is the human hand. No machine yet contrived or hereafter contrivable, will ever equal the fine machinery of human fingers. The best design is that which proceeds from the heart, that which involves all the emotions - associates these with the head, yet as inferior to the heart and head, and the hand yet as inferior to the heart and head; and thus we bring out the whole person.' The head, the hand and the heart - for me, this provides an elegant summary of the whole subsequent history of art and design education. And in some ways it's paralleled by this Museum. First, the 'head' period of Victorian times, when design was thought to be a kind of language - a language with its principles, its grammars and its rules. The role of the art school was to teach the grammar rather than the usage. And to teach it through copying - endlessly copying - plaster casts, many of them of course finding their way into the Cast Court. In fact one wag in the late 19th century referred to the whole system as 'cast-rated'. It's easy to mock in all sorts of ways. It's easy to mock, for example, the prudery. This is a famous photograph of the casts with a famous fig leaf covering part of Michaelangelo's David, and what's wonderful is that the fig leaf is still in the Museum. It's hinged. Don't go there. But - so it's easy to mock, but from an intellectual point of view, this system was a world-beater. Christopher Dresser, the world's first industrial designer, on the principles of design and symmetry of natural forms; T H Huxley on art botany; Gottfried Semper on the formal components of style; the first design journal or style magazine in history - and so on. South Kensington was in those days the world centre for theorising design and manufacture, at the hub of a genuinely national system. Here's one of the books in the National Art Library with the branch art schools to which it was sent. It was like the Vatican of design education. The 'hand' period of Edwardian times - right up to the 1930s - in reaction against the constraints of this system instead emphasised usage, or making or doing. To understand design you had first of all to understand how it was made - so, under the delayed influence of the Arts and Crafts Movement, there'd be a new emphasis on workshops and the basic craft technologies. Louis Day Belous in the collection at the V& A. W R Leatherby - the very first Professor of Design in Britain - said that the following words should be inscribed in the finest lettering over the front door of every design college: 'No art that is only one person deep can be very good art'. This is the student summer show of 1911. The point was to belong to a tradition of designing and making, and to work from within that tradition. And to react against the shoddiness of what was available in the high street, just like their forebears, although for very different reasons. A rather mono-cultural view of religion. Ruskin's complaint about 'the hand' was that if over-emphasised, this approach could neglect the head and the heart. By the post-war period, it was often being said that this tradition wasn't giving the students enough opportunities to express their own ideas and concepts - and it couldn't hope to touch the realities of the modern world. Tom Heatherwick's 'Forest of Brands' from Brand.New. It was one thing to half-educate students by mistake: it was quite another to half-educate them deliberately. So it was generally agreed that the education of the designer should involve much more heart - as well as head and hand - with an emphasis on ideas and education rather than techniques and training. Heart, not at all in the sense of sentimentality, but in the sense of having one's finger on the pulse of what's going on in contemporary culture and the creative industries. Today is in some ways an era of the convergence of all these traditions - a thoughtful attitude towards design, an understanding through experience of materials and techniques, and - for the first time ever - a sense that art and design education really is in the vanguard, a stimulus to the worlds which surround it. And there are many other convergences at work today, in the era described by David Harvey in his wonderful book The Condition of Postmodernity. He says, 'The relatively stable aesthetic of the era of Modernism,' -, the era of fixities and certainties - 'has given way to all the ferment, instability and fleeting qualities of a post-modern aesthetic that celebrates difference, ephemerality, spectacle, simulation, fashion, and the commodification of all cultural forms.' In such an era, the keynotes have to be interdisciplinarity - for much of the most interesting work emerges from the spaces between disciplines, the cracks in the floorboards - design with attitude, and providing a guide for the perplexed. The Museum, as we've seen, started life as a radical educational experiment. What should it make of this post-modern world, from the education point of view? Well, you need a space to exercise the head and the hand and the heart - space to think, to make art, space to be fired up. You need a space which combines areas for discussion, with workshops and visual presentation, and actually a bit like parts of Marlborough House in 1852 where there was a lecture room - it was next to some classrooms - and the technical studios, all next to each other on the second floor. Now that 'taste' has become a sociological concept rather than a scientific principle, you need space to think about art and identity, cultures rather than culture, why we consume the things we do. And you need a place to make work. In short, you need a space rather like this - the Sackler Centre - the largest dedicated educational centre this Museum has ever had - including Marlborough House - a centre, as the subtitle goes, for creative practice. When I first became a professor at the Royal College of Art - a university which is in direct line of descent from the Government Schools of Design - Sir Roy Strong was kind enough to introduce my inaugural lecture.It was when I first became directly involved in the V& A, and I vividly remember one conversation I had with him around that time in 1980. Roy had said in a speech that the RCA grew from within the Victoria & Albert Museum, so we shared a common heritage. I replied that the second statement was correct, but as for the first, it was actually the other way around. The Victoria & Albert Museum started life as the visual aids department of the Government School of Design. The collection grew out of the plaster casts acquired for the students to copy; the library grew out of the texts on design intended for the students and the branch schools; the displays at Marlborough House were predominantly aimed at the students - on Wednesdays to Saturdays, anyway; and the Lecture Theatre was originally built over the then entrance to the Museum for the thousands of students in the national system; and above all, the founding mission of the Museum was an unashamedly educational mission. And Roy gladly acknowledged the point. And of course since then the whole situation has completely changed vis-a-vis the museum and education. And I'm recalling all this not to present myself tonight as the Emperor of Arizona and lay claim to whole swathes of the Museum in the name of the College - although that would be very nice - but to finish on just how central - uniquely central - education was in the foundation of this great institution. A confession. Henry Cole, especially the Henry Cole of the 1840s and 1850s, is one of my heroes - in fact, I have the Vanity Fair picture of him above my desk in Bath when I write. I think history tends to be not very kind to people like Henry Cole. Of course, we've moved on from the Chamber of Horrors - and the explicit criteria of judgement that it represented are still challenging. Of course the swing away from that sort of education has swung right back in the model world, but his belief in Albertopolis - or Coleville as I prefer to call it: not Coketown, but Coleville - the bringing together on one street of art, design and science; design and technology; fine and applied art; visual art and music; specialised students and the general public; this belief I profoundly share. And I share his conviction that the heart of this Museum lies in education, research and engagement with contemporary design side by side with, and as well as, its responsibility to the history of design and decorative art. Henry Cole used all the media available in his day to put this message over. He was fascinated by the latest technologies - in his case, photography, electroplating, mechanical reproduction - and he had a real flair for lobbying in the right places. He was on every committee going, not because he collected committees, but because he found them a useful way of getting things done. In fact, he could be quite cynical about committees, particularly when they didn't do what he wanted. Cole was a philosophical radical in his youth and he retained a strong social conscience throughout his career. He tended to see the glass as half-full - as in Felix Summerly. On his family holidays, he was always writing lectures and speeches and visiting museums and cultural institutions; much to the chagrin of his wife and children. He had a prodigious amount of energy. He should have been given a knighthood in 1851, inside the Crystal Palace, but he had to wait another 24 years for that - partly one suspects because he'd rubbed so many people up the wrong way on his journey, he was so forceful and argumentative and he had such a short fuse. He once referred to a lecturer at one of the branch art schools as, quote, 'like an untamed Newfoundland dog', which wasn't intended as a compliment. Because he, of course, was a terrier. As Lyon Playfair - who worked closely with Cole on the Great Exhibition - said, 'He was constantly misjudged because his modes of work were not always on the surface. If he came to an obstacle it was his delight to tunnel under it in secret and unexpectedly come out the other side.' Or to put it another way, as another Victorian contemporary did, '[He had] a dogged inventive genius which knew how to turn difficulties into stepping stones to success, and to wear out stolid opposition by vivacious pertinacity.' Which perhaps explains why Henry Cole and Jim had so much in common. I congratulate the V& A on picking up the gauntlet thrown down by Henry Cole in 1853 - 155 years ago - and for doing so in a way which is so suited to the modern world. Thank you Christopher has talked about the hand, the mind and the heart, and I think we've seen and heard tonight that he's a man of strong great mind, of great heart, and no mean artistic hand as well. [I can do dogs.] And the passion and the spirit with which he's spoken I think has communicated itself to all of us. He's very kindly said that he will take a few questions and I know there's a couple of roving mics somewhere not so very far away - does anybody want to ask a question of Christopher? Hello - can you hear me? Right you're now Sir Christopher Frayling, but what benefits has having a knighthood brought to your life? [laughs] Dear oh dear - dear oh dear! In the art world nothing at all. It enables you to choose a rather nice crest with a motto but it doesn't get you a table at the Ivy - I've tried. No, Henry Cole should have - in those days they had the habit of knighting people on the location of the thing they were most famous for and it would have been absolutely wonderful on the last day of the Great Exhibition I think to have knighted Henry Cole but he had to wait a very long time and he was very pleased. One of my ambitions is one day to - I may as well put down a marker on this - is one day to re-enact the entire Chamber of Horrors in the Museum, which would be great fun. Because I think if one really really put one's mind to it, there's lots of stuff in the stores you know, if one really really looked for it - and then do the Chamber of Horrors 2008 and explore the whole idea of explicit criteria of judgement and how they work and how do we actually discriminate and the whole social issue - I think it would be fascinating. It would irritate everyone terribly but that would be the point - which of course was Henry Cole's point as well. He was trailing his coat. Gentleman there. Well you can't say that without saying what would be in your 2008 Chamber of Horrors. Do you know the first draft of this lecture had some suggestions, but then it all sounded terribly - see the trouble is that because now taste is now treated as a sociological concept - it's about education, culture, where you're born, what class you're in, economic circumstance and all sorts of other things - rather than some innate quality which the Victorians tended to believe, you're making social judgements as well as aesthetic ones. And that makes it actually very difficult. But I had simulated coal fire … I had a lot of things that were sort of generically awful, rather than specifically. You know those little buckets that you get milk in - UHT milk - where whatever you do it all goes all over your tie? But that's more utility- that's not so much aesthetic. To sidestep the question a bit - what's interesting is of course how fashionable a lot of these objects are now, some of those kinds of wallpaper - some of the pictorial wallpaper, even the convolvulus gas jet. There's an element in which there's a kind of high design. In Postmodernism - once you get to Postmodernism where anything goes - and where the whole of culture is a culture of quotations of one kind or another, none of this makes any sense, because it's all fair game for the designer. So it would be quite difficult but I think - if you really pressed me I could think of a few things and a bit of art as well perhaps, just to pepper it a little bit - yep. Clothes I think. Hi, thank you. At the end of your lecture you talked about this sort of balance now being struck between the head, the hand and the heart [yes] when we think about perhaps the role of the designer. Don't you think there's also an argument though, that given contemporary circumstances - globalisation, climate change - that actually really [for] designers today, the heart has to be sort of at the forefront? That really one - the social context, the now and how that kind of impacts - which is what Ruskin said really in a way, in his distinctive way. Yes. I mean originally what I was going to say - I had about ten lectures in here really - but what I was going to say was that first of all each of the traditions has a contemporary correlative, that the grammars of ornament have a correlative in digital design, databases, and systematic design methods. It's that way of approaching design where you break design down into a series of stages and it's quite a fashionable approach in some quarters so that the head lives as it were. The hand of course in contemporary crafts, in the contribution of contemporary crafts to both art at one end of the spectrum and design at the other - the environment, low tech, those sort of considerations. The hand and the heart - yes, precisely being aware of the big issues of the day and somehow incorporating them into one's design work. So I think Ruskin was actually right where he says nowadays physiologically we know that the brain controls the hand and also controls the heart, so you can't actually say, 'here's the head, here's the heart, here's the hand'- but in the end the heart is the key one. And it makes the hand and the head subservient. And I think that's probably true of teaching art. I think it's a wonderful statement actually, it's one of the best statements I've ever read of what you do when you're teaching art. And what was so interesting was that it was in reaction against the Marlborough House doctrine because it was all head. It was all about learning grammars, learning not - never- feeling you're grown-up enough to do it yourself, and words like 'originality' and 'finding your own voice' are completely absent, completely absent from the system. You immerse yourself in the grammar for five or six years, and then you go off into business and the assumption is that you apply design to something - a surface - you're painting on porcelain, you're going to work for Wedgwood, you're painting carriage doors. That was basically the assumption. So you've got to learn drawing - that's all you need to do really. So it's interesting that what Cole did occasioned that great comment about art education. But I agree with you and the reason I finished on that is that I think he's right. We'd express it differently, but design with attitude is what I call it really - is the thing. Christopher, did you have the opportunity to reflect on why the Chamber of Horrors was so popular in its day, despite ?… Yes, I was combing the newspapers actually in Colindale, and it was a big debate actually. I mean 'The Times' sort of as a curtain raiser, but that big big article - I read out that bit about that one corridor in Marlborough House - if you imagine the length of the article describing the entire contents, it's about two and a half columns for a rather small exhibition opening. It's fantastic the coverage that it got, and Cole of course was a born publicist, so there was an event feeling about it, and you get a sense that a lot of people went. But the trouble is that much of the evidence is from Cole. You know he writes in his first report for the Department of Science and Art - 'it's been fantastically popular', 'the manufacturers' outcry caused us to close it' - there's no evidence for either of those two things really. There's a sense that it was an event but we've only got Cole's word for it. We've also only got Cole's word for the fact that his tea set was a huge international success. Now, it is incredibly rare - Museum people know this - it's very very rare to find a Cole Etruscan tea set, and why is that if it was so popular? But in his memoirs he says, 'You know it took the world by storm and hundreds and thousands were produced', so you have to take it with a slight pinch of salt. But I do sense from the fact that Dickens devoted so much space to it in Household Words, because the front page of Household Words was the big issue of the day - he does things about sweated labour or children going up chimneys or the big big issues - and he devotes the whole of the front two pages of Household Words to the house full of horrors, and that I think gives an idea that it was a big number actually and in Chapter 2 of 'Hard Times' even a year later, Dickens hasn't got it out of his system. So curatorially what's so interesting is that the concept was you immerse yourself in the Chamber of Horrors and then you go into the Museum proper armed with those principles, so that everything you look at is through the filter of the design principle - that was the concept. Which was quite interesting actually as a curatorial concept, So the sort of entrance gallery gives you some things to think about as you're walking around, and Cole actually says you could take it or leave it. He doesn't actually say it's compulsory even, though he uses the language of religion a lot - doctrine, canons, missionaries - there's a lot of biblical language and it's very kind of high-flown. But my sense is that it was an event but it was impossible to discover whether there were crowds or not - and it's only a small corridor if you look at the map - so there wasn't room for that many people. But if Dickens only dealt with the key issues of the day in 'Household Words' then that is evidence I think that it was a big number. And closed a few months later. And it is a surprise that it closed because you certainly don't get from the papers that everyone hates it. So when Cole says 'the manufacturers… there was an outcry' as far as I can see that's not in the papers - they just decided to close it. So I don't quite know but do you think it would be fun to re-enact the Chamber of Horrors? It would be quite - but there's other things you see - what the bits missing are - clothes. You know there's papers - the ones I showed you - I think these are the only - I may be wrong but I think that this is the sum total of the known exhibits from the Chamber of Horrors. And the thing that thrills me the most about the research I did for this is finding the horses actually, because I mean to actually have that in your mind when you read Hard Times is extraordinary actually, I think it's great. But there aren't any clothes. And there aren't that many 3-D objects - the convolvulus and the candlestick - and I'd love to find the liquor jar in the shape of a pink snake - that must be somewhere. I'm sure they're here because I don't think people throw things away do they? I mean it's there, it's in Blythe Road - a tiny , a little liquor jar, pink I don't know. It would be fun to have a good look actually, but as you can see of course the wallpapers are in not very good condition, I mean they're fading fast which is a shame - they're all framed now in their own microclimate to protect them - but it's a race against time with some of the things but I think it would be fun. Whether it would be popular - I think it would be controversial and interesting - yeah. And the other thing that occurred to me, which I was going to talk about but didn't, is the complete obsession at the moment in the public sector with targets and being explicit about what you're doing when you do things, whether it's about visitors or exhibitions or in the Arts Council and so on. And of course Cole is an absolute example of that - that the Chamber of Horrors is the ultimate in targetology, in actually boiling the experience of art to eight key principles and you tick them off, and in a way targetology begins here, which I thought was quite interesting, but I thought 'no, I haven't got room for that'. Yeah, sorry. Last question if we could then. Your lecture tonight actually throws new light for me on Ruskin's reaction to Wyatt's sculpture of Bashaw the Northumberland Dog in the primary galleries, because Ruskin particularly hated that sculpture which he called 'Number One' at the South Kensington Museum. And it strikes me, do you think that what Ruskin was really thinking was that that rather beautiful dog was actually Henry Cole and he was commenting upon him? He could well have been - that could have been a very nice addition to the lecture actually in my sort of dog theme - but yeah, because he does wax eloquent about it doesn't he, surprisingly angry about it. I wonder whether you know Cole's corporate image was Jim and therefore you know there's a coded thing at the time of getting at dogs. I don't know, but Ruskin harried the Museum didn't he and the National Art Training School from all directions really and felt it was reductive and not the opposite of life enhancing but it was closing down options rather than opening them up, so you know you could - no one's ever done it - but you could do a really interesting anthology of Ruskin's comments on South Kensington, to see how he moved in his attitude perhaps. But the dog is a very good reference. I'm sure there are more questions actually but I think probably we need to draw this to a close now. When we were first planning the first Henry Cole Lecture we did think hard about who should speak, and it did occur to borrow from Prince Albert and think 'We need fizz get Chris' - and we've certainly had the fizz in this. This lecture has evidently been a labour of love for Chris, and I have to say that knowing of his passion for Henry Cole I really very much wanted him to be the person who would inaugurate the series, and in some ways provide the kind of intellectual baptism for the Sackler Centre as well, which I think he's done very ably. I also knew that he'd be desperately busy but that in all honesty he couldn't resist doing this and it was perhaps a little bit mean of me to know that and still ask him - but he couldn't resist and I'm really glad that he couldn't too. But grateful also that he's given such a lot of time and energy to preparing for the talk tonight. I have a funny feeling that this is not the end of the story of the Chamber of Horrors somehow but we'll have to wait and see. It's been an academic tour de force. It's a compelling argument that he's put forward for the public role of public institutions, and at the same time a wonderfully entertaining story, and that's a combination I think almost only Christopher could really pull off. And I hope he won't mind if I say that it felt a little bit tonight as if something of the spirit of Henry Cole has been in him. Not all the bits of Henry Cole, because he wouldn't want them all I shouldn't think, and you wouldn't want too many spirits in him either, but nevertheless, just perhaps for tonight, and just on this particular occasion, he will allow that Henry Cole has been here a little bit with us too, and for that I think we have very much Christopher to thank. So would you join with me please in showing him that appreciation.

10. Só de mim with english subtitles

  • Published: 2012-08-08T18:07:55+00:00
  • Duration: 187
  • By Ana Luisa
Só de mim with english subtitles

Diffuse likes to be present in every special date of the year, and this time, we brought something that we consider different for Valentine's day. "Só de mim", tells the story of a young boy who had it all in love, but that only realized it after losing it. An unlikely story for a normally happy day, with the beautiful city of Lisbon in the background. Everything started with the inspiration from the video called "The Emotive" by Christopher Wong ( and Kevin Guiang. The chemistry happened instantaneously, and we decided we'd like to do something like that, but in Portuguese (because our language is beautiful), with time for shooting (something we believe the first video, unfortunately didn't have the time to), and with an excellent video quality. Here is the original link, so that you can apreciate the master piece, and so that maybe you'll also be inspired by it, and how knows, to do something like we did, but on your own language! ( Writing in paper is always different from "writing in a video". Our text was more extended, but as we felt the video was getting to long, we had to, unfortunately, cut some parts. You'll be able to find our complete text bellow, and we hope you enjoy it as much as we did. Best regards, Diffuse team. *Só de mim* You don't know who I am, but I know who you are... and I just need a minute of your attention. I want to tell you that I hope you know how lucky you are. How much I would like to be in your shoes. To be able to be in the same bed as her every morning. To help her waking up from the bad mood. I hope you know she's only going to talk with you after she brushes her teeth. It's not on purpose... she's just afraid of losing her charm in your eyes. Afraid that you’ll consider her a common human being. I hope you know that she likes to enjoy every sunbeam, and that coffee makes her sick. That she chooses what she's going to wear on the night before, just to have five more minutes of sleep in the morning. That the alarm clock rings fifty times until she gets up, and that, even so, she manages to arrive on time. I also want you to know that she loves fantastic tales, but not Horror stories! That she might know all the names of an old book's characters, but that she isn't going to try hard to immediately know all your friends' names... Because she... she owns herself. She's not the one who is lucky to have you. You are the lucky one, to have her in your life. You know... She's not a romantic by nature, but a spontaneous gesture from you will make her weaken. Because she's safe and sweet at the same time. She can't cook, but she'll try hard to prepare your favourite dish. And if it doesn't come out right, she'll laugh at her failure, instead of blushing. And when she laughs... it makes me want to cry. Not in sadness, but because each laugh is like a musical note that touches my heart and makes me want to dance. I hope that you stop doing what you like to do, and that sometimes you have time to hear her talk about her day and every single achievement. That you put up with her artistic daydreams and the time she wastes colouring children's books when she wants some time for herself. I want you to know that I would love to be on that side, putting up with her bad mood and seeing it change after the first glass of wine. I wanted to be able to admire her nails that most of the times have peeling nail polish than perfect nail polish... but that every imperfect red shape has a story that she built with her own hands. I wish I had fallen in love with her on the first day I saw her, and not on the second one. Because each day with her is to be sure that you are loved. Because she's seduction and joy altogether. Because she gets what she wants with the power of her smile and the strength of her look. I'd be a fool if I didn't know she has brown eyes and that she loves the colour green. I want you to know that she's all I want and never knew I had. Learn that the arrhythmia you feel with her is normal! And that the lack of it is like an emptiness worse than death. I hope you'll be everything I never was. I hope you treat her right. Because if you break her heart you'll lose her forever. I wish I could have read the future... Final Credits: Actor: Diogo Lopes Written by: Ana Luisa Bairos, Joana Pacheco Revised by: Margarida Vaqueiro Lopes Filmed by: Ana Luisa Bairos, Duarte Domingos Video post-production: Ana Luisa Bairos Audio post-production: Alexandre Pereira Original soundtrack: Alexandre Pereira Production: Diffuse studios ( Translation and Subtitles: Susana Santos Special thanks to: Eva Barros, Isa Pinheiro, Susana Santos

11. Light of heart #2

Light of heart #2

Medium: mixed media, water, audience’s heartbeats, stethoscopes, resin, satellite dish, amplifiers, sub woofers, batteries, light, cable. Date: 2003-2010. There are several versions of the immersive interactive installation, two have been presented for this website, light of heart #2 and light of heart #4 Artist statement The basis of light of heart was founded on the exploration of childhood experiences of dislocation and the separation from my mother. I have used this experience as a focal point to create an immersive interactive installation that use the body and biological rhythms to locate a sense of presence and stability. By exploring the notion of presence I aim to create a positive and centered experience. “Take this very instant, now, and think of it as all there is of time. Nothing can reach you here out of the past, and it is here that you are completely absolved, completely free. ” I wanted to explore the notion of presence within a structure that would not be an obvious personal investigation and have used performance and live art strategies that encourage audience participation. As a way to locate presence I began to investigate internal rhythms that sustain life and focused on the heart. Our mother’s heart is the first thing we hear whilst developing in the womb. In all cultures the heart holds great symbolism, in Mexican culture the mother’s heart is seen as soft, generous and full of protection. In China it is thought to be a source of intelligence, where the spirit resides, in Judaism the “ seat of life, symbolizing unity” and in the West the heart is the site of all emotions, particularly love. light of heart is an investigation into ways of embodying presence on a collective and individual level. What does it mean to be present in our bodies? How does it feel to be focused on the moment? What effect do we have on people surrounding us? This interactive installation invites the audience to hear, see and feel their own and others heart rhythms as a devise to locate a sense of presence and stability. When viewers participate with the work, their heartbeats are amplified through the room. Solenoids attached to the edge of the water filled satellite dish transmit the rhythm of the heartbeats, creating palpitations in wave form that move as light ripples across the gallery wall. When two or more people interact with the work it is possible to see the heart rhythms weave over one another to form varied patterns. When five people interact, a pulsating star formation is created. light of heart requires you to bring the work to life. 1 Pick up a heart object and place to your heart, (left side on chest). 2 Hear, and watch your heart rhythm being projected onto the galley wall.

12. What Jesus Values Most of All

  • Published: 2011-01-18T00:01:05+00:00
  • Duration: 2331
  • By Jim Tompkins
What Jesus Values Most of All

The story is told of a pastor who phoned the home of some recent visitors to his church, and a voice answered quietly, "Hello?". The pastor said, "Who is this?" There was a little whisper on the other end. It said, "This is Johnny." The pastor said, "How old are you, Johnny?" He said, "I’m four." "Johnny, may I please speak to your mom?" "She’s busy." "Then can I speak to your dad?" "He’s busy, too.” "Are there any other adults at your house?” "The police.” "Well, could I speak to one of the police officers?” "They’re all busy.” "Anyone else there?” "The firemen.” "Put one of the firemen on the phone.” "They’re busy." "Johnny, what are they all busy doing?" They’re looking for me." Some Christians are just like little Johnny. They are hiding out. They do not want to be discovered. This is especially true when it comes to talking about stewardship and tithing. Usually the offering is the deadest time of the church service: You may have read of a person that had a heart attack and died in the morning service of his church. They called the paramedics and they came while the offering was being taken. It took them ten minutes to find which one was actually dead. Intro: There are two Gospels preached in the Bible, for Jesus brought two things with Him: For the law was given through Moses; grace and truth came through Jesus Christ. John 1:17 There is the Gospel of Grace that we love to hear. The Gospel of God's love for even the worst sinner, the forgiveness we have in Jesus Christ, and His continued mercy and love for His children. There is also the Gospel of the Kingdom. But he said to them, “I must preach the good news of the kingdom of God to the other towns as well; for I was sent for this purpose.” Luke 4:43 In the Kingdom, there is a King, and the King must be honored. He has expectations, He has commands. The subjects who desire to live in His Kingdom must follow His Word. We love the Gospel of Grace, because we feel comfortable there, accepted, loved. However, the whole purpose of the Gospel of Grace is to move us into the Gospel of the Kingdom. We accept Jesus as Savior, but we must also accept Him as Lord. The Christian life that we are living is preparation for living in the coming Kingdom of Jesus Christ. When He returns to set up His kingdom, we will reign with Him, and our duties will depend upon how we prepared here on earth. We will be reading from Luke 12 today, and we will see what Jesus values most of all in the universe. What you may not understand is that the Gospel of the Kingdom has no room for greed in it. However, what you may find most surprising is how Jesus defines greed. His definition is not how we define it, for Jesus sees greed as the greatest barrier to the fulfillment of the Gospel of the Kingdom. • Greed affects our willingness to serve and to watch for His return. Text: Luke 12 1. Warning of the Leaven of the Pharisees - Hypocrisy (1-3) Luke 12 opens with Jesus being surrounded with such a large crowd that the people were stepping on each other. He began speaking, but he directed his comments to His disciples. The Hypocrisy of the Pharisees (1-3) He began by warning them of the leaven of the Pharisees. Specifically He was addressing their hypocrisy. Jesus may have even given examples. Perhaps the one most irritating to Jesus was the way the Pharisees appeared to be religious and God-fearing, but inwardly they were men motivated by greed and selfishness: (Just the chapter before Luke 12)  The Pharisee was astonished to see that he did not first wash before dinner. And the Lord said to him, “Now you Pharisees cleanse the outside of the cup and of the dish, but inside you are full of greed and wickedness. Luke 11:38-39  Luke 16:14 The Pharisees, who were lovers of money, heard all these things, and they ridiculed him. Jesus tells His disciples that everything that is hid will be revealed. God sees all and knows all. God knows your heart. He knows what motivates you...He knows what you secretly value...He knows your motivations...He knows the hidden idols of your heart. Your secrets, your sins will one day be brought to light.  Listen to Hal 2. Our Value to God - Greater than Sparrows (4-7) Jesus then compares us to sparrows and claims that even the hairs of our heads are numbered. No need to fear, for we are much more valuable than sparrows. Fear Not. How many times have you worried over upcoming bills?  Fear Not! Just think, your worrying is a way of denying Jesus before men. Your fretting about bills and about food fails to acknowledge the power of Jesus, the Words of Jesus. If God cares about sparrows, He certainly cares about you. Even Our hairs are numbered 3. Demonstration of Our Value to God (v 8-12) • We are living testimonies of Christ to this world • When we lift up the Name of Jesus, He will lift us up before the angels of God  When you get to heaven, will the angels know your name? • The Holy Spirit will even speak thru you if you let Him. 4. A Selfish Demand for the "Teacher"(13-14) • In the middle of Jesus talking about our Value to God, a man interrupts to ask a question about something valuable to him! • "I am getting cheated out of my Dad's inheritance!" • Tell my brother to divide the inheritance with me! “Man, who made me a judge or arbitrator over you?” Luke 12:14 5. Jesus Clarifies the Life of His Followers (15) • Guard against Greed • Life does not consist in the abundance of possessions. “Beware, and be on your guard against every form of greed; for not even when one has an abundance does his life consist of his possessions” (Luke 12:15 NIV) There are two words in the Greek, which are used almost interchangeably for both GREED AND COVETOUSNESS. Both words are derived from two Greek words, which combined mean to desire or to hold more. [From (pleion) and (echo); meaning to hold or desire more] 1. pleonektēs - covet, desire 2. pleonexía - Covetousness, greediness  Jesus uses pleonexia in Luke 12:15 to describe the heart of the man who interrupted him.  Pleonexía is a larger term which includes philarguría , love of money to hoard away, avarice.  Pleonexia is most often connected with the outward actions which reveal the inward covetousness of the heart.); such as thefts, plans of fraud and extortion . In the English language, greed and covetousness share very similar meanings. If there is any distinction, covet is more of an inward attitude, while greed is more of an outward action. Most of us will admit to some degree of coveting, but few will admit to being greedy like Scrooge McDuck, who would go into his vault and play with all his money. A very successful lawyer parked his brand-new Lexus in front of his office, ready to show it off to his colleagues. As he got out, a truck passed too closely and completely tore off the door on the driver's side. The lawyer immediately grabbed his cell phone, dialed 911, and within minutes, a police officer pulled up. Before the officer had a chance to ask any questions, the lawyer started screaming hysterically. His Lexus, which he had just picked up the day before, was now completely ruined and would never be the same, no matter what the body shop did to it. When the lawyer finally wound down from his ranting and raving, the officer shook his head in disgust and disbelief. "I can't believe how materialistic you lawyers are," he said. "You are so focused on your possessions that you don't notice anything else." "How can you say such a thing?" asked the lawyer. The cop replied, "Don't you know that your left arm is missing from the elbow down? It must have been torn off when the truck hit you." "My God!" screamed the lawyer. "Where's my Rolex?" Covetousness is a very grave sin; indeed, so heinous is it that the Scriptures class it among the very gravest and grossest crimes • But sexual immorality and all impurity or covetousness must not even be named among you, as is proper among saints. Ephesians 5:3). • Mortify therefore your members which are upon the earth; fornication, uncleanness, inordinate affection, evil concupiscence, and covetousness, which is idolatry: Colossians 3:5 • Or do you not know that the unrighteous will not inherit the kingdom of God? Do not be deceived: neither the sexually immoral, nor idolaters, nor adulterers, nor men who practice homosexuality, nor thieves, nor the greedy, nor drunkards, nor revilers, nor swindlers will inherit the kingdom of God. 1 Corinthians 6:9-10 Covetousness and greed are the foundation of a heart that turns away from Jesus Christ and insure that one will be excluded from heaven. Life and Eternal Life are the same to Jesus. He holds the key to both. If possessions are your god, then He cannot be. JESUS ALWAYS FOCUSES ON THE HEART ATTITUDE.  Jesus Re-Defines Life for His followers. It is not about possessions. In fact, if you think it is, you are diseased with a life-robbing disease called greed.  Greed indicates that self is on the throne of one’s heart and that God is not. Jesus is not Lord of greedy people, which is precisely why Scripture tells us that greed is equivalent to idolatry (see Eph. 5:5; Col. 3:5). 6. Parable of the Rich Man (16-21) “The land of a rich man produced plentifully, and he thought to himself, ‘What shall I do, for I have nowhere to store my crops?’ And he said, ‘I will do this: I will tear down my barns and build larger ones, and there I will store all my grain and my goods. And I will say to my soul, Soul, you have ample goods laid up for many years; relax, eat, drink, be merry.’ But God said to him, ‘Fool! This night your soul is required of you, and the things you have prepared, whose will they be?’ So is the one who lays up treasure for himself and is not rich toward God.” Luke 12:16-21 A. The Rich Man Saw only Himself. He thought only of himself when he considered what to do with his prosperity. He made his decision as if he were the only person in the world. It never occurred to him to think of those who had little or no food. He did not love his neighbor as himself. He only loved himself. He acted selfishly. B. The Rich Man was Blind to Eternity. He only saw his life on earth. His motto was you only go around once, so go for all the gusto you can. Eternity was a foreign concept to him. As Jesus said, he laid up treasure for himself on earth, not considering the eternal ramifications of his decision. The remainder of his earthly life might be enviable, but how about his life throughout eternity? He possessed earthly treasures, but what about heavenly treasures? C. The Rich Man was Blind to God. It never occurred to him that God, the one responsible for the good weather that brought abundant crops, had blessed him in order to make him a blessing to others. He never saw his opportunity to glorify God by obeying Him and loving his neighbor as himself. Although he was rich in earthly material things, he was not “rich toward God” (Luke 12:21) as Jesus said. His lifestyle was a testimony to his unbelief, as he ignored the two greatest commandments. D. The Rich Man was Blind to His Mortality (Luke 12:19), He thought he had plenty of time left. He assumed he was in control of his life. The rich man in Jesus’ parable died on the very night he made his selfish decision. The final decision of his life was a selfish, damning decision. His death that night may well have been God’s judgment upon him because of his selfish decision. • One who has a greedy heart is blind to God's Kingdom, blind to his responsibilities as a Kingdom Citizen. • One who has a greedy heart lays up treasure for himself, and not for the Kingdom of God. He is selfish, shortsighted, and lacking in even basic faith. • People who lay up wealth or possessions for themselves are greedy, and are not rich toward God. o They are in control of their possessions, and leaving the King out of it. Greed begins with the false belief that money is the way to get honor, happiness, and security. "By humility and the fear of the Lord are riches, and honor, and life. Prov 22:4 1 Timothy 6:6-10 Now there is great gain in godliness with contentment, for we brought nothing into the world, and we cannot take anything out of the world. But if we have food and clothing, with these we will be content. But those who desire to be rich fall into temptation, into a snare, into many senseless and harmful desires that plunge people into ruin and destruction. For the love of money is a root of all kinds of evils. It is through this craving that some have wandered away from the faith and pierced themselves with many pangs. MIDDLE CLASS CHRISTIANS CAN BE GREEDY Some people will say that this parable only applies to farmers who have good harvest. Or to rich people with a lot of money. Do you think the Parable of the Good Samaritan only applies to people walking on the road to Jericho? Others say this parable applies only to people who get a big windfall, or win the lottery, not to people who get a paycheck every week or two.  Do not fool yourself.  Jesus applies this parable to you and me, citizens of His kingdom. What Jesus said has application to everyone who has more than he needs, anyone who might “lay up treasure for himself”, whether he has accumulated it slowly or suddenly. I might also add that there is nothing in Jesus’ parable that states the rich man accumulated his wealth suddenly. His wealth was more likely acquired gradually, through seasons of fruitful harvests. I suspect that it would be difficult to retire on just one year’s crop. Suppose someone said, “I’m glad I’m not faced with the option of an early retirement, or else I’d have to give some thought to what Jesus taught”? Although what Jesus said has application to those faced with the option of an early retirement, it clearly has application to those not faced with such an option. Jesus Himself revealed to whom the parable applies—anyone who has opportunity, like the man in the parable, to “lay up treasure for himself” (Luke 12:21), TITHERS CAN BE GREEDY TOO It is possible to be a tither and still layup treasures for yourself, if you have been blessed with abundance. It is very possible to tithe and be selfish with the remaining abundance. One may tithe and remain guilty of greed. The Pharisees scrupulously tithed, but according to Scripture, they were also lovers of money (see Luke 11:42; 16:14) and were also hell bound (see Matt. 23:13-15). We are just as foolish as the man in the parable if we think our lives consist of our possessions—when the primary pursuit in our lives is the acquiring and selfish enjoyment of material things. Isn’t that the picture of so many of us who claim to be Christians? Our lives completely revolve around acquiring, selfishly spending, and selfishly enjoying wealth. That is what we live for. We are not seeking first the kingdom of God, as Jesus commanded us (see Matt. 6:33). We are trying to find happiness in material wealth, not in knowing, loving, enjoying and obeying God. What have you done for God, or for the sake of the Gospel, that really cost you something? (I mean it was like the widow who gave her last mite as an offering.)  We are rich, but not “rich toward God” (Luke 12:21). You have heard the crazy story. A feller goes to another feller, and he says this to him: “If you had a hundred cows, would you give 50 of them to the Lord?” “Well, certainly, I would. If I had a hundred cows, I’d give 50 to the Lord.” “If you had a hundred sheep, would you give 50 of them to the Lord?” “Yes, Sir. If I had a hundred sheep, I’d give 50 to the Lord.” “Well, if you had a hundred horses, would you give 50 of them to the Lord?” “Yes, Sir.” “If you had a hundred pigs, would you give 50 of them to the Lord?” “Yes, Sir.” “Well, if you had two pigs, would you give one to the Lord?” “Now, you know I’ve got two pigs. I’m not going to give one of them to the Lord.” It is easy for us—it is easy for us to look at our neighbor’s wealth and say, “You know, if I had all that money, I’d be so generous. I’d support the Lord’s work and do this or that.” “There are many things that we would throw away if we were not afraid that others might pick them up.” Oscar Wilde 7. Jesus Presents Kingdom Living (22-34) “Fear not, little flock, for it is your Father’s good pleasure to give you the kingdom. Luke 12:32 • Stress Free "No Thought" Method of living • Do not be of a doubtful mind. • Believe in and trust in the Power of God to provide for you. • Seek the Kingdom of God with you goods, your possessions, and your life. • Sell what you have to give alms. • Where your treasure is, your heart will be also. • Kingdom living is a matter of the heart. • What does your heart focus on! • Where is your treasure? • Do not be weak in faith! 8. Kingdom Cry! "Let your loins be girded and your lights burning". (35-40) ESV: “Stay dressed for action and keep your lamps burning, Luke 12:35 • Wait for the Master to come. • Open the door the second he knocks, • Don't leave the house unattended, to seek your own pleasure • Always be ready and expectant for the Lord's return. 9. Jesus Values an Expectant Steward Most of All (37, 41-48)  Jesus will serve you • When we get to heaven, we will not be wondering if we will dance, or shout, or fall to our knees. We will be reclining at dinner and Jesus will be serving us! He will be washing our feet, anointing our head! • His Servants are watching because our treasure is in heaven. • His servants are watching because they are faithful and wise(42) • Faithful rests upon faith, which allows us to see Him who is invisible • Wisdom comes from above, not below. 10. Bad Stewards will be tossed from the Kingdom. • Servants that say, "He has delayed his coming" will be beaten and lose reward. 11. Jesus did not come to bring you convenience and prosperity • Fire • Division CULTURAL CHRISTIAN'S BELIEVE THAT JESUS FITS NICELY IN THE AMERICAN DREAM! I confess that as a young Christian I was caught in pursuing the American Dream. I thought the best Christians were rich, with the fancy cars, huge house, and great job. Those kinds of Christians were really blessed. However, I was really pursuing the dream not for how it would benefit God's kingdom, but for how it would benefit mine. I obsessed over money and things, and focused on enjoying the material fruits of MY labor! After all, God was helping me, but it was my hard work that brought success. My experience is that most Christians are buying into this concept of a 'Christianized' American Dream of success and prosperity being an earmark of the 'blessing' of God.  The average church is not abuzz with Kingdom of God talk, but with the Kingdom of me talk. We do not talk about what God is doing in our lives, how he is using us to win others to Christ, to minister to the needs of others. No, we talk about this possession, that vacation, that accomplishment. We focus on the Kingdom of Me! We worry about our health, we worry about our retirement, but we do not worry about the next-door neighbor going to Hell. We do not worry about God's Kingdom and what we are doing and praying to see it accomplished. Do you want Jesus to talk about you to the angels? Do you want Him to recognize your service in heaven? Jesus values faithful stewards most of all. Men and women who walk by faith, who trust God with their possessions, and are always looking at ways to give for the sake of His kingdom.  It is not a matter of how much you give; it is a matter of whether you give Him everything, no matter how much you have. BE A KINGDOM SOWER: 2 Corinthians 9:9-12 As it is written, “He has distributed freely, he has given to the poor; his righteousness endures forever.” He who supplies seed to the sower and bread for food will supply and multiply your seed for sowing and increase the harvest of your righteousness. You will be enriched in every way to be generous in every way, which through us will produce thanksgiving to God. For the ministry of this service is not only supplying the needs of the saints but is also overflowing in many thanksgivings to God.  Rich Toward God:  Transfer Ownership  Learn Contentment  Needs vs. Wants A KINGDOM SOWER HAS TWO SEED ACCOUNTS: 1. One personal to provide food and enough for next year's crop. 2. The second is to be sown in the lives of others.  God promises to provide for your needs.  God promises to multiply your seed to benefit others.  Harvest of righteousness  Overflowing of Thanksgiving for God  Ye have not because ye ask not  My God shall supply all your need according to His riches in glory by Christ Jesus. A Greedy person does not have an intimate relationship with God, nor does he want to depend on God for daily provisions. He wants to self-sufficient and independent. We ask, and receive not, because ye ask amiss, that ye may consume it upon your lusts. ASK:  Do I desire anything that my neighbor owns?  Do I ever think, "Wouldn't be nice to have that...?"  Do I constantly check my bank and investment balances?  Am I  Am I trying to store up riches so that I can enjoy a comfortable retirement of pleasure?  Do I have possessions that are rusting with disuse, getting moldy in storage, or so extravagant that I fear they would be stolen?  How rich am I toward God? ARE YOU UNPROFITABLE? One way that Jesus gives us to answer the question of how rich we are toward God is through a little illustration He gave that is recorded in Matthew and Luke 17. And which of you, having a servant plowing or tending sheep, will say to him when he has come in from the field, 'Come at once and sit down to eat'? But will he not rather say to him, 'Prepare something for my supper, and gird yourself and serve me till I have eaten and drunk, and afterward you will eat and drink'? Does he thank that servant because he did the things that were commanded him? I think not. So likewise you, when you have done all those things which you are commanded, say, 'We are unprofitable servants. We have done what was our duty to do.' "Luke 17:7-10NKJV Wuest: "We have done nothing more than that which was commanded us, are not deserving of any meritorious mention. We have done that which we ought to have done. Luke 17:10  Jesus ties unprofitable servants with those of little faith.  Jesus ties greed and covetousness to an inward attitude of selfishness and a shortsighted focus on possessions and money as the means of life.  Jesus ties His values to those people who focus on the eternal, forsake the temporal, and trust God fully for their life, including the money they need to live. I will ask the question again:  How rich are you toward God?  Are you an unprofitable servant, a servant not worth mentioning to the angels?  Are you focused on storing up for yourself? OR  Are you living by faith in the power of the Name of God? Are you depending upon Him for your needs, and forsaking your wants for the sake of others.  Are you girded for service?  Has the Holy Spirit lit your lamp and got it burning brightly? Are you going beyond what is commanded and giving more by faith?  Is your faith growing? Then look for the return of Jesus. Lay up treasures for Him. When He returns, He will be looking for those profitable stewards so that He can honor them. "It is required in stewards, that a man be found faithful" (1 Corinthians 4:2). THE STEWARD'S RESPONSIBILITY Are you rich toward God? A faithful steward sees himself as personally responsible for the reputation of his master. What the world knows of God will be through your faith, your actions, your giving. A steward's eyes are always focused on his master, and not on his own selfish desires. He fully knows the power of God, what His riches are, realizes he has entree to all that His Lord has, and has a responsibility to distribute as the Lord directs. Would you purpose to be a Steward, a profitable servant in the Kingdom of God?

13. Rev Mark Tengan LLM Sermon May 20 2012

  • Published: 2012-05-21T03:41:42+00:00
  • Duration: 2790
  • By Tongil
Rev Mark Tengan LLM Sermon May 20 2012

Live in the Moment Sermon, May 20, 2012 Rev. Mark Tengan Good morning, Lovin’-Life brothers and sisters! I would like to extend warm greetings from our Senior Pastor Rev. In Jin Moon, to all the local Lovin’ Life Ministries locations – from Florida to the state of Maine, from Alaska to Hawaii and San Diego, and every location in-between. Good morning again! Also, to brothers and sisters who are attending from different parts of the world, may God truly bless you! In this precious moment and in this historical place, let’s reaffirm that the Spirit and Love of God are here in our midst. Could you tell the person sitting next to you, “The Spirit and Love of God are here with us.” My name is Mark Tengan, I’m the pastor of District 12, the Southwest Pacific area. Many of you might be wondering about me, which nationality I am. Some of you may say, “Tengan; it sounds like tenga in Spanish, “to have,” so he must be Spanish. Or maybe I might look Filipino a little bit. The fact is, I’m all of that. I was born on an island, Okinawa, and I am Japanese. So I might trip between L and R. If you have a question, please see me after service. At this time, let us send our love and greetings to True Parents and our International President, Rev Hyung Jin Moon. They just returned to Las Vegas two days ago. Let’s give a hand for our True Parents! We are so grateful for their love and investment here in America. We are here to bring joy back to them through our living testimonies. Are you a living testimony? You are alive and you have a story, so you are the living testimony. You bring so much joy to our True Parents. Do you know that? Amen. Let’s bring God’s children back to Him, A-men! Right now in Las Vegas, families from across America are gathering to support our True Parents and teach all of God’s children by declaring the breaking news of our True Parents. Let us continue to create a strong witnessing momentum here in America. Do you think our True Parents can feel it? Absolutely. I was supposed to be in Las Vegas yesterday; however, all of a sudden, a heavenly rapture took place, and I’m here now standing at this amazing podium in front of you. Amen. I'll go to Las Vegas next week. Now let us all together send our love to our Senior Pastor of America, Reverend In Jin Moon. This podium is really warmed up; it is really heated up. Somebody paid the price to make this ministry work, to bring it this far. I personally thank God because last Sunday on Mother’s Day we could listen to In Jin Nim’s sermon. She surely has the heart of True Mother. I know that not only the Washington, D.C., area, but all of us nationwide were blessed by her message even as we continue to be blessed by the investment that she is making with each of our families around the nation. It is incredible. Also, we have recently had the opportunity to receive a special True Parents’ life course lecture given by Reverend Yong and Reverend Chung. Maybe some of you were there. These two teachers were instructed by our international president, Rev. Hyung Jin Moon, to come to America and share this very important information with us. The Bay area, Los Angeles, Chicago, Seattle, and the New Jersey communities were truly blessed. A recorded version of it is on the way. That was a great gift from our True Parents to us. Now we are equipped by the words of God. We know how we can prepare ourselves for Foundation Day 2013. Introducing District 12 Now I would like to brag about my district, District 12. You may say, “Reverend Mark, what do you mean by District 12?” I’m glad you asked. First of all, let me say this – none of the other districts in America has an ocean in between the states. District 12 has Hawaii! From California, there is a three-hour time difference to Hawaii. It’s quite a distance. That island reminds me of my hometown. Pastor and Mrs. Ernie Ho are in Honolulu. Someone said, “Who?” It’s Ho, Reverend Ho. Yes, Reverend Ku is in Alaska. We have Reverend Ho: just for clarification. On the Big Island in Kona, we have Pastor and Mrs. Chuck Frumin and all the wonderful families there. Lovin’ Life Ministries is growing stronger on each Island. If you need a vacation and you want to do ministry work at the same time, Hawaii is a good place to go. Just ask Reverend Lamson of Ohio. He can tell you everywhere you must go. Reverend Lamson, I love you. Aloha! In District 12 we have San Diego led by Pastor and Mrs. Walter Frank. They have a powerful community program. They are tight; they maintain a very warm environment. I attended their Sunday Service, and it’s very beautiful. All the parents are working together to raise beautiful children. That’s another great place to go. In Phoenix, Arizona, Pastors Staffan and Jane Berg together with Mark and Dianne Hickler are guiding the community, and they have particularly strong youth programs. Recently Jaga Gavin and Victoria Roomet visited them and had a great time with the local youth. It was really nice of them to visit like that. It’s called the culture of “Just Because.” One of the younger generation called them; they just showed up like that. It’s beautiful right now, the culture of our movement. For the 30th Anniversary of the 2,075 Couple Blessing, the Arizona family is planning to go to Sedona, which has such a beautiful and dynamic view of nature and a river. If you decide to go, please contact Reverend Staffan Berg. Las Vegas is also part of our district, so our district is heating up. The “heat is on.” That’s how it goes. Yes, it’s really heating up. They have almost a three-digit temperature right now. We are in a good place, right? Not only are we approaching a three-digit temperature, but also they had almost a three-digit number of guests for the Mother’s Day Service. They had over 80 guests last Sunday Service. Let’s give a hand to Las Vegas. It’s great. If any of us were waiting for a sign from Heaven, there is that sign in Las Vegas. It’s very hot out there. (I’m talking about the spiritual element.) It’s very hot out there. So many things are happening there in the home of our True Parents. Reverend Berg, Pastor Damian and Mrs. Dunkley, and many families have moved there for God’s will. Also missionaries from Japan are continuing to come to Las Vegas. As you may know, Lovin’ Life Ministries in Las Vegas is now held in the beautiful Rave Movie Theater. They are ready for a breakthrough! In fact, they are already breaking through. That’s the touch of True Parents’ power. If you want to feel the heavenly fortune directly blowing on your face, come to Vegas!! That’s a great place to go. Amen! Last but not least, we have Los Angeles as the district HQ. Our senior pastor sent us a lethal weapon from the East Coast. Their names are George and Christina Kazakos. Together with their leadership we started Lovin’-Life-Ministries services at Edward Cinema, located in Alhambra, California. It was a big cultural shock to all of us, and the younger generation loved it! We experience the power and heavenly fortune that come from uniting with the direction and vision of our senior pastor. I can’t mention the names of all the people out there, but I’ll mention some of them. Michael Holmes and the dream team do an incredible job. With the volunteer ministry and the educational ministry, they bring a fresh breeze of God’s love to our community. Carol Tacker as Sunday School principal has outside-of-the-box thinking for Sunday School in the theater. They have a singing part, a dancing part, and a learning experience all in the mix. Helen Brown bakes home-style Danish, and we serve hot drinks with it. People love to fellowship around the coffee bar. Now our families are so excited to come to church, they are coming to service from 8:30 in the morning. They’re warming up already. It’s so warmed up that it’s hard for them to get away from the coffee bar. Sometimes I need to turn them away from the coffee bar to come to the service. Unity Brings Victory Brothers and sisters, this is a Divine Principle 101 question: The key for victory is what? Thank you. “Unity.” When we have unity with the Heavenly direction from our True Parents to our senior pastor in this vertical order, miracles will happen. And they are already happening. Matt Ishizuka and the Los Angeles Lovin’ Life Band come to the service location before 7 a.m. for setting up and preparing for Blessed Families and guests to come. Last Sunday Da-Joe and our new guest Eliot performed a Rap song, “Appreciating Mother,” for Mother’s Day. We loved it. Our Lovin’ Life Ministries is truly changing our culture, our values, and our internal attitude. We are not perfect, but we accomplish many things and as a community we are really growing. Thank you to our True Parents! and let's have a big round of applause for our Senior Pastor Reverend In Jin Moon. I still remember when our senior pastor, Jin Sung Nim, Ariana, and the national team came to Los Angeles in October 2010. That was first time for us to welcome Lovin’ Life in the West coast. We had a great time. We called it “Autumn Fest.” We had a costume competition, ballroom dancing, and the Lovin’ Life service. I experienced the seriousness of our senior pastor to take care of a struggling member, a serious case. I had direct witness of how she dealt with this difficult case; she gave us clear advice and followed up with it. Yes, miracles happen because of investment. As a community we learn to face it and deal with it, and create an environment so that we do not make the same mistake again. Do you remember how our senior pastor mentioned that in our organization no rumors, back-biting, or pointing of figures from behind are allowed? Those are the elements that destroy our movement. So we have no time for that. We face it as it is. We deal with it as a community. Good things will happen if we work together as a family and as a community. Amen. “Live in the Present” I’d like to bring Father’s words to the screen: True Families’ Gateway to Heaven, Rev. Sun Myung Moon, page 73. The Importance of the moment The crossroads of life do not appear over a long period of time but in a single moment. People who ignore the moment cannot obtain anything precious. Nor can they become great people, or inherit God’s throne and crown. To make each moment shine, you should exercise care with each word you utter, each action you take, and even each thought you have. Deal with life and solve problems, believing that the contents of your daily life will all remain as phenomena in relationship to the world. That is the only way the realm of victory is determined. It is in the moment that the realm of victory is determined. It is the same with the historical realm of victory and the cosmic realm of victory. Those who live with unlimited values capable of making each moment shine brightly can become great people, even saints or God’s sons and daughters. In this way, the junction of life and death is crossed in a single moment. This morning, the topic I would like to share with you is “Live in the Present Time – This Moment.” This moment. In talking about time, please allow me to rewind time a little bit for me to share my personal experience with our Heavenly Father and True Parents, how God guided me to this country, how I joined this great movement, and how now God is continuously working with my life. Chaos in the Kitchen As I mentioned before, I was born in Okinawa, Japan, in 1969. I’m the oldest of three siblings. I grew up in the countryside, where I could see the Pacific Ocean because Okinawa is a small Island and everywhere you go, there is ocean. When I entered University in Okinawa I had a part-time job as a waiter in a French restaurant. Have you ever tried French food before? When you go to a real gourmet French restaurant and order a full-course meal, you will be served many dishes. It starts with the hors d’oeuvre. It’s hard for me to pronounce hors d’oeuvre – it’s the appetizer dish. Then comes soup, then salad, and they have bread on the side constantly. Here comes the seafood dish, then the entrée – usually a meat dish – is the main course. Then finally, dessert. Meanwhile a waiter is serving red or white wine. It is complex; it’s not that simple. It’s consisting of many dishes, and it’s almost like art; it’s beautiful. In French restaurants, however, there is often a fight between the cook and the waiters. I’m sorry, but that’s my main point in sharing this. It’s the waiter’s responsibility to call for the next dish. When guests are almost finishing one dish, a waiter calls for the next dish. For instance, when guests are almost finishing their appetizer dish, a waiter goes to the kitchen and tells the cook “Soup, please.” A waiter doesn’t need to wait until the guests finish completely. If the waiter wants to make the full meal course flow, smoothly and enjoyablely, it’s crucial to have a clear conversation between the cook and the waiter. Otherwise one mistake will bring us into a fight. “You made a mistake!” “That’s your problem!” Usually the kitchen will beat up the waiters a lot, so there are arguments and fighting all the time. My point is this: I saw injustice; I saw unrighteousness; I saw power-tripping; and I saw contradiction in society, not only the restaurant. I started to have questions about life, slowly but surely. My lifestyle in college was the worst of all. In general, it’s hard for students to enroll in a university or college in Japan. But once they enter, it becomes a dangerous place, where students can do whatever they want. Let me confess here: I saw hell on earth. There was drinking, smoking, and partying every night. Listen, young generation of our movement, God loves you! And True Parents love you so much! Your parents love you, so whatever your parents tell you, even though it might sound strange sometimes, please listen to them. Rev. Tengan’s Spiritual Birthplace Those days I started wondering, “Will my life finish like this?” But I said, “No, I don’t think so. I believe there must be something more for my life.” I was desperate. Even unconsciously, I was searching. So God needed to work this out, somehow, to bring me out of the environment, to rescue me. When MTV came out, in the 1980s I was really influenced by Western music, American music – totally. I was checking every week: Police, Michael Jackson, Toto, Van Halen. Do you know Toto? Its songs are beautiful. Oh, it’s culture shock. I was blown away by it. Also I was influenced by American soldiers who served in the military base in my hometown of Okinawa. The largest Air Force base in Asia is in Okinawa. It’s called Kadena Air Base. They looked like they were having a good life to me, those American people in my hometown, when I saw them on the beach scuba diving, partying, and having a good time. As a matter of fact, I had several American friends. Heavenly Father was working on me, stimulating me to come to this country. So I did. In spring of 1991, I came to America. I was standing at Powell and Market Street in San Francisco. Does anyone know this spot, Powell and Market? There you go. In that spot there is a turning table for cable cars, the cable cars that go to Fisherman’s Wharf. As the cable car turned, my life also was turning around. God picked me up and turned me around, and put me to the solid ground. My spiritual father was right there to introduce True Parents. It’s not only the cable car that turned. My life was turning right there, 180 degrees. I think that Phil and Heather Thalhemier joined in that spot, too. I heard that so many people before me joined around that area. Incredible conditions were offered in that place! In different places in America as well, amazing conditions were set for God to reach out to youth who came from around the world to meet True Parents. That’s why the Collegiate Association for the Research of Principle (CARP) had another name, TARP (Tourist Association for the Research of Principle) because many tourists joined. I was one of them. I went to the workshop site. It’s called Macama Hill. Or sometimes people call it Camp K. It’s located in Northern California, and it was the spiritual birthplace for many people. The heavenly tradition of the Oakland church (which Rev. Tom Cutts talked about in his sermon) was still there in 1990s. We sang in a circle, and gave our life testimonies in the evening around the bonfire. There was so much love in the kitchen, serving great meals. In the beginning I had such a hard time to eat pancakes in the morning. In Japan we eat pancakes at 3 p.m., not in the morning. Also I put soy sauce on my oatmeal at that time. Oatmeal is like soft rice, right? An American brother told me, “You know, Mark, if you continue to do this, I’m going to kick you out of the camp, so please don’t do that.” Just kidding. They didn’t kick me out. I learned to put on some sugar a few months later. In that beautiful, rich spiritual environment I received God’s words, the Divine Principle from our God and True Parents. Macama Hill was like a mother’s womb ready to give spiritual birth to many children. It was protected. God was right there to inspire and heal broken hearts and reveal the truth that God’s children needed to hear. I was touched by the Human Fall taught by one of our sisters. She had just had a baby, so many examples and stories in the lecture came from her relationships with her own children. It was real. God was expressing his heart toward his children, whom he had lost such a long time ago. The Power of Music Those days, I went to the Holy Ground in Macama Hill every night to pray and to sing songs which helped me to stay connected with God’s heart. I want to put one of my favorite songs on the screen now. I’d like to invite Reverend Cotter here. Let’s give a hand for Reverend Cotter. The song is called “Love Is Born Anew.” It was written by Joshua Cotter and Sheri Rueter. If you know this song, please help me out. Love is Born Anew Father, You’ve been on this road so long, Oh, won’t You rest Your weary head upon my heart? Just take my hand. And together we will find A secret place where dreams are born And love’s alive, Your love’s alive. Father, You’re the rock that stands so strong, Although the waves have come against You for so long; You still go on. And Your hope is like a flame That’s ever burning through the darkness and the pain. Turn the teardrops into smiles; You’re the Father, I am Your child. And together, we will heal this world. And love is born anew. Thank you. That’s a beautiful song, right? When I joined the movement, this song helped me to connect with God’s heart. You know, brothers and sisters, the intimate time with Heavenly Father, with our Parents, is so crucial. All of us need to have that place. All of us need to have that place that we can go to sometimes, to remember where we belong. I know why our senior pastor calls Lovin’ Life a music ministry. The power of music to move your heart is incredible. When I was in Macama Hill, we sang that song a lot, and God touched my heart. He revealed that his heart is suffering because of myself, because of me, because of his lost children. That’s why this song stays in my heart even now. Seeing the Invisible Every year at the beginning of the year in our movement, True Parents give us a motto. This year’s motto is: “The Era of the Victory, Liberation and Completion of the True Parents of Heaven, Earth, and Humankind.” How can we liberate our Heavenly Father and True Parents? By living our life moment by moment. Step by step, let us make ourselves spiritually mature to liberate our Heavenly Parents and True Parents. I’d like to read some Bible verses. 2 Corinthians 4:16-18. Seeing the invisible therefore we do not lose heart. Even though our outward man is perishing, yet the inward man is being renewed day by day. For our light affliction, which is but for a moment, is working for us a far more exceeding and eternal weight of glory while we do not look at the things which are seen, but at the things which are not seen. For the things which are seen are temporary, but the things which are not seen are eternal. The love, life, and lineage that Father talks about, cannot be seen. Love, life, and lineage. God’s love lineage flowing through your blood veins – all of you, brothers and sisters – is so crucial for us. Let’s “look” at the unseen and keep the connection. Let’s live that moment today, amen. An Eternal Spouse Heavenly Father, who guides my life and knows about you and me so well, every day is calling our name, calling my name – and has been for a long time. He blessed me through True Parents with my wife Tine Trinh Tengan. She was very straight, unlike me. God knew what kind of better half I needed as a spouse. The picture is right there. God blessed us with six beautiful children. My wife was telling me that we will have seven children. Well, I guess including myself she gave birth to seven children, right? In 2010, during our last child’s pregnancy, she got cancer. When my wife and I found out about the cancer, it was already in its last stage. Women’s hormones change drastically during the pregnancy period. Miraculously, however, with God’s help, she gave birth to the last child, and that baby girl is still alive and healthy today. She is three years old now. I thank God that my wife and I had a few months to spend time together before she departed to the spiritual realm. Basically it was a healing honeymoon for us. While we were seeking holistic healing as an alternative approach to cancer, we went to Cheongpyeong and Cheongshim Hospital. Cheongpyeong in Korea is a place blessed by God and True Parents for spiritual and physical healing. Later, we went to the One Heart Hospital of Tokyo and to my hometown for thermo therapy. It’s heating therapy. We went to all kinds of places. We visited downtown Seoul for sitting together with Auntie and Uncle outside to eat an interesting meal. I saw a dog hanging from the ceiling. It was an interesting day and a good meal. We were all having a good time, even as I pushed my wife in a wheelchair while she was in the last stage of cancer. She wanted to go everywhere, including downtown Seoul and downtown Tokyo. We did all kinds of stuff. She didn’t eat sushi before, but somehow she acquired an appetite for sashimi, and we started eating sushi as well. Today, those memories still come back to me in a flash. Then I realize my wife is near me. I feel her presence, for instance, with my girls for morning prayer and reading. Usually they have a hard time to get up at 5 a.m., but because of donuts as a prize for it, when they wake up, they join me. Then they say to me at the reading session time, “Oh, Papa, Mama is here!” “Wow! Do you see Mama?” And my wife was there above the bookshelf. They feel the strong presence of their mother. I’d like to say Happy Birthday, Eunmi – that’s my fourth girl. Tomorrow is her birthday, when she will become eight years old. Happy birthday. I love you, Seiho, Seika Euna. Only through the Divine Principle, the teaching of our True Parents, could I understand that husband and wife can continue their relationship between the spiritual and physical realms. I realized the Sung Hwa or Heavenly Ascension Ceremony and Legacy of Peace ceremony are the real thing. I’m still discovering the reality of the spiritual realm in my daily life, and I'm so grateful to God for my Blessing and my eternal relationship with my wife. The Present Is a Gift from God Saints, we are not living in the past. We are living in this present moment. Amen! If you drive a vehicle watching the rearview mirror constantly, you will have an accident. You cannot go farther. You cannot get to the destination. You’ll get lost. When we drive, we look forward. We are living in this moment, brothers and sisters. We’re living in this precious moment. It’s called present. It’s a gift from God. I’d like to read Revelation 19:7–9. Let us be glad and rejoice, and give honor to him: for the marriage of the Lamb is come, and his wife hath made herself ready. And to her was granted that she should be arrayed in fine linen, clean and white, for the fine linen is the righteousness of saints. And he saith unto me, “Write, ‘Blessed are they which are called unto the marriage supper of the Lamb.’” And he saith unto me, “These are the true sayings of God.” I do exercise every day. When I swim and exercise, and when I eat kimchi and Korean food, I sweat – or when I get excited. You don’t see me exercising in the pulpit or eating Korean food here, but I’m excited right now. I’m starting to sweat. This place is really hot because of your presence, brothers and sisters, because of your value as sons and daughters of our eternal Heavenly Father. Bringing Joy to True Parents We’re almost finished. In 2001, we had the 50-State Speaking Tour. Let me share some testimony about our True Parent and myself, in which True Father gave a speech every day for 50 days. That was an amazing time. We prepared the location for the program: the Bonaventure Hotel in the middle of downtown Los Angeles. We gave everything we had. We had prayer meetings going toward success of the program. We were desperate to bring a victory for True Parents and all humankind. Then we welcomed True Parents before the program started. That was a precious time for us to introduce ourselves to True Parents. I can never forget how True Father explained about my name. He was introduced to my name, and he started to explain about it. He explained, “Oh, Masaru” – Masaru is my real name, Mark is my English name – “means ‘the cup filled with water,’ and he is still pouring the water, and water is overflowing.” That’s not the real meaning of my name, but True Father was trying to describe my spiritual status at that time. Reverend Ku, my leader at that time, explained to me that Father was very pleased by my hard work in preparation. When I looked at True Mother, she was smiling at me. You know, Saints, I could have died right there. Father was complimenting me for what I was doing, and True Mother was smiling at me. That is the kind of moment we live for. That’s the moment we live for. I want, and you want, to bring joy to God and True Parents, don’t you? When we do that, we can never forget that moment. We have an original desire to bring joy to our True Parents and to God. The Daughter of True Parents One more testimony is from 2010, when our senior pastor was in Las Vegas at Christmastime. She invited all of us to come to Las Vegas. Then on the day before the Lovin’-Life service, we had ballroom dancing and a gala. At that time I was listening to the talk that Jin Sung Nim gives to the younger generation, and it’s a wonderful, intimate time with True Family. I was dead serious the day before, preparing for the service to happen on the next morning. I didn’t care so much about what was going on with ballroom dance and other activities that night. Maybe the senior pastor felt I looked too serious, so she said one word to me. She said, “Mark, enjoy.” That one word hit me. Lovin’ Life Ministries: It’s loving in the present moment. It’s not about the past. It’s not concerned just with the future. It’s about living life in this moment, rightly. It is about enjoying our life, our gift, which comes from our Heavenly Father. Here was part of the True Family, setting a great place for us just to enjoy, but I didn’t receive it. I learned a great lesson about Lovin’ Life Ministries in that moment. It is about now. Can you say now? Yes, Saints, it’s about now. It’s about this moment that we are living here right now. It’s what counts to make impact for the future. We cannot bring back the past by thinking about it. We can live right now. Living in our moment is 100-percent investment. That’s how we can bring joy to God and True Parents. I need to share with you about the time our senior pastor asked me to take this responsibility. That was after my wife passed away. Does that make sense? I am a widower. My wife is in spiritual world, and I have six children. Do you appoint that person as district pastor? Reverend Cotter was calling me about this mission. I answered “God knows my situation, that my wife is in the spiritual world and I have six kids. However, still the senior pastor wants me to do it? I will do my best.” I came to be interviewed by our senior pastor here in New York, around the same time as Reverend Takami (he was before me). It was August 2010. The senior pastor had Japanese twins, so to speak. I will never forget her attitude toward my circumstance. She didn’t sympathize from a humanistic view; rather, she was making sure that it was a calling from God. In that stillness and firmness of her attitude, I saw the daughter of True Parents right there. Becoming the Owners of Our Lives Our senior pastor mentioned in her message about True Mother’s words, “Suffering makes our heart grow deeper.” There is an untold story behind any scene in True Parents’ course and True Family’s course. On behalf of us, they went through it and True Parents and True Family are still taking those steps. When we live this moment with total investment as sons and daughters of our Heavenly Parent and True Parents, we can unite and be the agent of change. We should not be observers. We should be totally participating together with True Parents and True Family. Amen? We are not just sitting and waiting; we are becoming the owner of our life. A-ju? I like these lyrics. I don’t know if everybody got it: what Sonic Cult sang today in the last song. When something’s broke, I want to put a little fixing on it. If something’s bored, I want to put a little exciting on it When something’s low, I want to put a little high on it If something’s lost. I want to fight to get it back again Our True Parents are fighting every moment of their lives to give the ideal back to Heavenly Father and bring all His children back again. We cannot find anyone like them in this world or in history who are totally intoxicated with God’s love and live in that realm. They are investing every ounce of their energy to restore God's lost ideal and bring his children home again. Amen. Thank you, True Parents. In closing, I had a Hoon Dok Hae reading session ceremony with our True Father. Some of you may have had a 24-hour session with him. I had a 12-hour session with him. Twelve hours was enough for me. He didn’t touch his glass of water. He didn’t doze off. He was checking each one of the leaders, who were dozing off that time. He was very sharp. Father and Mother are incredibly alive and embracing the world today, making the conditions and the foundations we need at this moment. So, brothers and sisters, let's make the most of each moment that God has given us on this earth, knowing that we will spend eternity with him and with those whom we love. God bless you, and have a wonderful Sunday. We love you all.

14. What Does the Resurrection Have to do with Heaven?

  • Published: 2011-06-06T22:20:16+00:00
  • Duration: 2783
  • By Jim Tompkins
What Does the Resurrection Have to do with Heaven?

In 15th century Bavaria, as a group of monks pondered the meaning of the somber events of holy week -- Maundy Thursday's observance of Christ's Last Supper, his agony in the Garden of Gethsemane and his arrest and Good Friday's remembrance of Christ's agony and crucifixion -- one of the monks began laughing, one of those huge belly laughs, shattering the quiet of their contemplation. It's said that the monk who laughed told the others, "Don't you see? It was like a joke! The Resurrection was the best joke in all history. On Good Friday when Jesus was crucified, the devil thought he had won. But God had the last laugh on Easter when he raised Jesus from the dead." The monks called it Risus Paschalis, "the Easter laugh." Word spread and the day after Easter became known as a day of joy and laughter, to be celebrated with joke telling. Monks in monasteries particularly enjoyed the custom. I don’t believe we fully understand the importance of the resurrection to the Heaven we will enjoy one day. If we did, we would have a lot more laughter and joy in our lives, no matter what is going on around us. Instead of somber, sour faces, we would have joyful expressions of confidence in the resurrection of Jesus Christ! Therefore, to prepare you for what I am going to talk about this morning, I want to tell you some Christian light bulb jokes. • How many Calvinists does it take to change a light bulb? None. God has predestined when the light will be on. Calvinists do not change light bulbs. They simply read the instructions and pray the light bulb will be the one that has been chosen to be changed. • How many Catholics does it take to change a light bulb? None. They always use candles. • How many members of an established Bible teaching church that is over 20 years old does it take to change a light bulb? One to actually change the bulb and nine to say how much they liked the old one. • How many liberal post-modernist christians does it take to change a bulb? No one knows. They can’t tell the difference between light and darkness. • How many TV evangelists does it take to change a light bulb? One. But for the message of light to continue, send in your donation today. • How many Unitarian’s does it take to change a light bulb? This statement was issued. “We choose not to make a statement either in favor of or against the need for a light bulb. However, if in your own journey you have found that a light bulb works for you, that is fine. You are invited to write a poem or compose a modern dance about your personal relations with your light bulb (or light source, or non-dark resource), and present it next month at our annual light bulb Sunday service, in which we will explore a number of light bulb traditions, including incandescent, fluorescent, LED, long life, and tinted - all of which are equally valid paths to luminescence. • How many youth workers does it take to change a light bulb? Youth workers don’t last long enough for a light bulb to burn out. • How many Pentecostal’s does it take to change a light bulb? One to change the bulb and nine to pray against the spirit of darkness. • How many Southern Baptists: At least 15. One to change the light bulb, and three committees to approve the change and decide who brings the refreshments. • How many Mormons does it take to change a light bulb. One man to change the bulb, and four wives to tell him how to do it. • Methodists: Undetermined. Whether your light is bright, dull, or completely out, you are loved -- you can be a light bulb, turnip bulb, or tulip bulb. Church wide lighting service is planned for Sunday, August 19. Bring bulb of your choice and a covered dish. • Lutherans: None. Lutherans do not believe in change. • Amish: What's a light bulb? Paul wrote this about the Resurrection If Christ has not been raised, your faith is futile; you are still in your sins…[and] we are to be pitied more than all men. (I Cor 15:17,19) Christ rose bodily-it is the cornerstone, foundation of redemption-both for mankind and for earth. The physical resurrection of Christ means an eternal future for fully restored humans dwelling on a fully restored Earth. RESURRECTION IS PHYSICAL  If you spiritualize the Resurrection, you weaken the power of the resurrection.  The power of the resurrection means a permanent return to a physical existence in a physical universe. Two thirds of American who believe in the resurrection do not believe they will have a physical body after the resurrection. Resurrection means we will have bodies. If we didn’t have bodies we wouldn’t be resurrected. RA Torrey: We will not be disembodied spirits in the world to come, but redeemed spirits, in redeemed bodies, in a redeemed universe. OUR PHYSICAL BODY IS IMPORTANT TO GOD Gen 2:7 - then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature. Genesis 2:7  “living creature” is ‘nephesh’ translated “soul”. Adam became a living being when his body was joined with the spirit (breath) of God. Adam became a living being as a result of the combining of physical (dust) with spiritual (breath of God). Your body does not just house the real you, it is as much a part of the real you as your spirit is. If this idea is foreign to us, it is because we have been influenced by wrong religious thinking. It is based upon thinking that the flesh is evil and horrid in God’s sight. Or that the flesh is insignificant when compared to our higher self. Paul had to write the Corinthians about the resurrection because they had already been influenced by Greek philosophies such as Platonism and dualism (a dichotomy between the spiritual and physical). God designed our bodies to be an integral part of our total being. Our physical bodies are an essential aspect of who we are, not just shells for our spirits, to be eventually cast off like cicada’s or crabs. WHY DID GOD WARN ADAM & EVE ABOUT DEATH? What was so bad about death, that God warned Adam and Eve about it. We think death is natural, to be expected, even anticipated (death and taxes…). To God, death is an abnormal condition because it tears apart what God created and joined together. God intended for our bodies to last as long as our souls. He intended for us to live forever.  People that believe in pre-existent souls or spirits see a disembodied soul as natural and a state to be desired. The Bible sees that as unnatural and undesirable. God made us unified beings. This is why the bodily resurrection of the dead is so vital. Job rejoiced that “in my flesh I shall see God” (Job 19:26) Jesus did not die just to redeem our souls. Jesus died for our bodies, the “dust of the ground’ as well. When we die, our ‘real self’ is not what goes to heaven while we leave our ‘fake self’ behind in the grave. Actually, part of us goes to intermediate heaven, and part of us goes to the grave to await bodily resurrection. Our redemption will never be complete until we are joined with our resurrected physical body. Any views of the afterlife that settle for less than a bodily resurrection-such as reincarnation, soul transmigration-are explicitly non-Biblical. The early church wrestled with ideas such as Gnosticism which associated God with the spiritual realm of light and Satan with the physical world of darkness. God was pleased with all the physical realm when He pronounced it all “very good” (Gen 1:31) When we realize that we will live on a physical “New Earth”, then a physical resurrection makes perfect sense. Anthony Hoekema said: “Resurrected bodies are not intended just to float in space, or flit from cloud to cloud. They call for a New Earth on which to live and work, glorifying God. The doctrine of the resurrection of the body, in fact, makes no sense whatever apart from the doctrine of the New Earth”. And if Christ has not been raised, your faith is futile and you are still in your sins. 1 Corinthians 15:17 Paul does not say “if there is no heaven, the Christian life is futile”. He says that if there is no resurrection from the dead, then the hope of Christianity is an illusion, and we are to be pitied for placing our faith in Christ. Paul has no interest in a Heaven that’s merely for human spirits. Paul says that there is no Heaven for human spirits unless Heaven is for human bodies. God has set ‘eternity in the hearts of men’ (Eccle 3;11), and that eternity we long for is a physical one, freed from the effects of sin and the curse, freed from disease, guilt, stress and chaos. THE RESURRECTION & REDEMPTIVE CONTINUITY Therefore, if anyone is in Christ, he is a new creation. The old has passed away; behold, the new has come. 2 Corinthians 5:17 This “new’ means a radical change. But though we become new people in Christ, the reality is that we are still the same people. When I was saved, I was changed, but my Mom and Dad could still recognize me. I will undergo another change at death, and yet another change at the resurrection of the dead. Through all the changes I will still be who I was and who I am. I will still be Jimmy Lee Tompkins, Jr. There will be continuity from this life to the next. I will say with Job: And after my skin has been thus destroyed, yet in my flesh I shall see God, whom I shall see for myself, and my eyes shall behold, and not another. .. Job 19:26-27  Conversion does not mean eliminating the old, but transforming it. Despite the radical changes that occur through salvation, death and resurrection, we remain who we are. We have the same history, appearance, memory, interests, and skills.  This is “redemptive continuity”. God has shown over and over that His desire is to bring His fallen, corrupt children into a restored, refreshed and renewed relationship with Him. That has been His design since the beginning. God’s honor and glory is because He can and will redeem and renew the same humanity, the same world, the same heaven and the same Earth that have been corrupted and polluted by sin. The message of the Scriptures is that God is all about the redemption of His creation. Just as mankind can become a new creation, so this world will experience a new birth into a new world. The New Earth will still be Earth, only changed. It will be recognizable, but without the effects of sin’s curse. OUR RESURRECTION BODIES The empty tomb is proof that Christ’s resurrection body was the same body that died on the cross. If Christ had a different body, why not leave the old one in the tomb? Christ said, “It is I myself” (Luke 24:39) to emphasize to His disciples that He was the same in spirit and body. Destroy this temple and I will raise it again in three days. (John 2:19-21) He was speaking of His physical body. We will have the same bodies we lived with on Earth, only made new by the transforming power of the Spirit. We know our body will be physical, just as we are now physical. We know we will be like Christ. CHRIST’S RESURRECTED LIFE IS OUR MODEL But our citizenship is in heaven, and from it we await a Savior, the Lord Jesus Christ, who will transform our lowly body to be like his glorious body, by the power that enables him even to subject all things to himself. Philippians 3:20-21 Beloved, we are God’s children now, and what we will be has not yet appeared; but we know that when he appears we shall be like him, because we shall see him as he is. 1 John 3:2 The difference between Adam and Christ is not that one was a physical being and Christ was not. Adam was under the curse of sin and Christ was untouched by sin. Jesus was like us in every respect, except without sin. (Heb 2:17) Jesus proclaimed “I am not a ghost” (Luke 24:39), and yet most Christians believe they will be ghosts in an eternal heaven. If Jesus would have been a ghost or a disembodied spirit, then redemption would not have been accomplished. Hank Hanegraff “There is a one-to-one correspondence between the body of Christ that died and the body that rose” Jesus showed us life after the resurrection for 40 days. A.His Resurrection Body Was Suited For Life On Earth. He walked with the two disciples on the road to Emmaus. They asked Him questions, He expounded the Scriptures, they learned. They saw nothing different about Him until their eyes were opened. They would have recognized Him earlier. Nothing was amiss about the resurrected Jesus. Jesus told His disciples: Touch me and see, a ghost does not have flesh and bones as you see I have. Jesus reveals that heavenly life will be ‘embodied’ life. Jesus looked like a man because Mary called Him “sir”. Mary probably had kept her eyes from looking directly at the man (per the custom), but when she heard Him speak her name, she recognized his voice. She turned for a direct look at Him. Jesus started a fire, called to his disciples, was cooking fish that he had probably caught earlier. This means He did not snap his fingers and materialized a finished meal. In John 20:22 Jesus breathed on His disciples. Jesus continued all of His relationships in the same way they had been before the resurrection. This suggests we will continue relationships we had on Earth, with all the memories and experiences. B.His Resurrection Body was Suited for Life in Heaven  Jesus could appear suddenly in a room without opening the doors or windows. (John 20:19)  Christ’s body could be touched, clung to, consume food, yet also ‘materialize’ and float away. Will we be able to do likewise? The Bible is not clear. I think the first Adam gives us an idea however. Adam certainly possessed great intelligence. He was able to identify and name all the varieties of flora and fauna growing in the garden, as well as all the animals. At the present there are over 297,326 species of plants, 31,000 species of mammals, birds, reptiles and amphibians. Now not all of these may have been present in the garden, but even if it were 10 percent, or 33,000, that still indicates amazing intelligence. Adam also possessed great strength and physical ability. Imagine caring for a garden 5 acres in size (with no machinery). Imagine taking care of a garden of 640 acres without machinery. We do not know how large it was, but I believe it was large enough that it indicated Adam had superhuman strength to take care of it. And God expected Him to expand the garden. THE PROMISE OF IMPERISHABLE BODIES So is it with the resurrection of the dead. What is sown is perishable; what is raised is imperishable. It is sown in dishonor; it is raised in glory. It is sown in weakness; it is raised in power. It is sown a natural body; it is raised a spiritual body. If there is a natural body, there is also a spiritual body. 1 Corinthians 15:42-44 Earthly Body Resurrection Body Sown a perishable body Raised an imperishable body Sown in dishonor Raised in glory Sown in weakness Raised in power Sown a natural body Raised a spiritual body A Spiritual body does not mean a body made of spirit. When contrasted with natural body, it means a body that is under the control of the spirit. It is a physical body with spiritual qualities, because it is free from the curse of sin. When Paul said that “flesh and blood cannot inherit the kingdom of God”, he is referring to our flesh and blood as they are now, cursed and under sin. Our resurrected bodies will be totally redeemed bodies, free from the curse and effect of sin, able to live eternally in the presence of God. Our bodies will be like Jesus body-both physical, spiritual and indestructible. Joni Eareckson Tada: “Somewhere in my broken, paralyzed body is the seed of what I shall become. I’m convinced that if there are mirrors in heaven (and why not?), the image I’ll see will be unmistakably Joni, although a much better, brighter Joni”. This body that we walk around in is going to get upgraded! These will be resurrection upgrades! You will be able to serve and glorify God and enjoy an eternity of wonders he has prepared for you! BROADEN OUR VIEW OF REDEMPTION And when it comes to the church, he organizes and holds it together, like a head does a body. He was supreme in the beginning and—leading the resurrection parade—he is supreme in the end. From beginning to end he's there, towering far above everything, everyone. So spacious is he, so roomy, that everything of God finds its proper place in him without crowding. Not only that, but all the broken and dislocated pieces of the universe—people and things, animals and atoms—get properly fixed and fit together in vibrant harmonies, all because of his death, his blood that poured down from the Cross. Colossians 1:18-20 The power of the resurrection is enough not only to remake us, but also to remake every inch of the universe-mountains, rivers, plants, animals, stars, and galaxies. Christ’s redemptive work extends resurrection to the far reaches of the universe. Surely it moves our hearts to wonder and praise. ALL CREATION WAITS IN EAGER EXPECTATION Martin Luther: “Our Lord has written the promise of the resurrection not in books alone, but in every leaf in springtime.”  All of creation waits in eager anticipation for the sons of God to be revealed. For the creation waits with eager longing for the revealing of the sons of God. For the creation was subjected to futility, not willingly, but because of him who subjected it, in hope that the creation itself will be set free from its bondage to corruption and obtain the freedom of the glory of the children of God. For we know that the whole creation has been groaning together in the pains of childbirth until now. Romans 8:19-22 God subjected the whole creation to frustration by putting the Curse not only on mankind but also on earth (Gen 3:17) Why? Because humans and the earth are inseparably linked. The whole creation (the heavens and Earth of Genesis 1) eagerly anticipates our resurrection! Why? As mankind goes, so goes all of creation. Sin was an event of cosmic proportions. So too will our resurrection have cosmic repercussions! THE SECOND LAW OF THERMODYNAMICS Entropy tells us that all things deteriorate. Everything was once in a better condition than it is now. Children and stars can be born, but both ultimately become engaged in a downward spiral. John Piper What happens to our bodies and what happens to the creation go together. And what happens to our bodies is not annihilation but redemption. Our bodies will be redeemed, restored, made new, not thrown away. And so it is with the heavens and the earth. This world is in the pains of childbirth, not a death rattle. When we are resurrected, it will give birth to the New Earth and Heaven. There is the groaning of those dying without hope, and there is the groaning of those in childbirth. Both processes can be extremely painful, yet they are very different. One is the pain of hopeless dread, the other of hopeful anticipation. Genesis 1 & 2 begin with the creation of the heavens and earth, and the last two begin with the re-creation of the heavens and earth. THE FAR REACHING EFFECTS OF THE RESURRECTION  Each man woman and child ever born will face the resurrection: Do not marvel at this, for an hour is coming when all who are in the tombs will hear his voice and come out, those who have done good to the resurrection of life, and those who have done evil to the resurrection of judgment. John 5:28-29  Our works will follow us Therefore, my beloved brothers, be steadfast, immovable, always abounding in the work of the Lord, knowing that in the Lord your labor is not in vain. 1 Corinthians 15:58  Phillips says: And so brothers of mine, stand firm! Let nothing move you as you busy yourselves in the Lord's work. Be sure that nothing you do for him is ever lost or ever wasted. 1 Corinthians 15:58 THE WORKS OF OUR HANDS  If the creation is resurrected, could this also include the works of our hands? Now if anyone builds on the foundation with gold, silver, precious stones, wood, hay, straw— each one’s work will become manifest, for the Day will disclose it, because it will be revealed by fire, and the fire will test what sort of work each one has done. If the work that anyone has built on the foundation survives, he will receive a reward. If anyone’s work is burned up, he will suffer loss, though he himself will be saved, but only as through fire. 1 Corinthians 3:12-15  Revelation 14:13 says that our righteous deeds will follow us to heaven.  Moses prayed (Ps 90:17) Establish the work of my hands. The Hebrew word for establish means “make permanent.” So Moses was asking God to give permanence to what he did with his hands. What about the gold, silver and costly stones of our works? Could they survive the fire? THE PRACTICAL APPLICATION OF OUR RESURRECTION 1. We Need to View Life through Resurrection Eyes  We focus too much on the external.  We spend billions on diets, makeup, clothes, all trying to improve our looks. This body will one day be resurrected and transformed. It will be recognizable, but it will be different. I believe our inner character will be displayed more prominently. Who we really are will impact others more than our looks. Jesus was just a gardener until He spoke Mary’s name. Jesus was just a traveling companion until he broke bead and blessed it. His impact on the men from Emmaus was not his looks, but His words! We spend so much on improving our outward appearance, when what will matter in Heaven is our inward character, thoughts and words. How much time do you spend in God’s Word! How many times do you take God’s Word and pray it to Him, to make it your own, your character! We need to emphasize to our children and grandchildren that our words will be taken to Heaven, our character, and that to prepare our inner man we must center our lives around the Word of God. Behold, You desire truth in the innermost being, And in the hidden part You will make me know wisdom. Psalms 51:6 The sum of your word is truth, and every one of your righteous rules endures forever. Psalms 119:160 HE IS CLOTHED IN A ROBE DIPPED IN BLOOD, AND THE NAME BY WHICH HE IS CALLED IS THE WORD OF GOD. REVELATION 19:13 FALL OF BABYLON After this I heard what seemed to be the loud voice of a great multitude in heaven, crying out, “Hallelujah! Salvation and glory and power belong to our God, for his judgments are true and just; for he has judged the great prostitute who corrupted the earth with her immorality, and has avenged on her the blood of his servants.” Revelation 19:1-2 This is the first Hallelujah in the Book of Revelation. It was because of the fall of that great city ‘Babylon’, Babylon embodied the spirit of empty show and pretence. Israel’s first recorded sin was the taking of the Babylonian garment (Achan). Achan coveted the ‘look’ of Babylon. The first recorded sin of the new church was similar. Ananias and Sapphira wanted to ‘look’ good in front of everyone. We need to See with Resurrection Eyes, and we will spend less time trying to ‘look’ good to others and spend more time with God’s Word, preparing for an eternity with Him! 2. We Need to Walk with Resurrection Outlook walk in a manner worthy of the calling to which you have been called, Ephesians 4:1 Walk as children of light Ephesians 5:8 walk in a manner worthy of God, who calls you into his own kingdom and glory. 1 Thessalonians 2:12 In heaven, we will walk in the light of God Himself. We will walk on an Earth much like this one. We will take care of our New Earth as if God was walking beside us. His light will always surround us. How do you behave on this Earth? How do you take care of this Earth? Do you walk as if it is God’s, as if God is walking beside you? Are you walking as though the light of God is surrounding you?  Never walk in idleness (2 Thess 3:11)  Never walk in darkness (1 John 1:6)  Never go to a place that will not be on the New Earth! Whoever says he abides in him ought to walk in the same way in which he walked. 1 John 2:6 Start walking on this Earth as you will on the New Earth! 3. We Need To Live with Resurrection on our Minds  That is the last time she would ever hug her husband.  That is the last time I’ll ever see him in his body.  I’ll never see my daughter again on this earth.  It is so sad they died so young. Imagine you are at a party and having a great time. Food, conversation, games-everything is wonderful. Suddenly your host says, it is time to go. What? But you are having such a great time. The host arranges for someone to take you home. They drop you off at the driveway, and there you are, feeling sad, alone, unwanted. No one likes to leave a great party early. You go to your door, open it and wham, everyone shouts “Surprise” and now there’s an even better party going on! It’s a party for you-a feast, a great time. We think that when someone dies, they are leaving the party early; others miss them and think it was so tragic. But in reality, they are going to a party for them-a great party. It is we who are left behind who are missing out. We think when we are suffering with a disease, an ailment, or some trial that we are being judged, we are not loved, or we are not blessed. In this you rejoice, though now for a little while, if necessary, you have been grieved by various trials, so that the tested genuineness of your faith—more precious than gold that perishes though it is tested by fire—may be found to result in praise and glory and honor at the revelation of Jesus Christ. 1 Peter 1:6-7 Your life on the New Earth will be free from sickness, from disease, from trials. But your life on the New Earth will be greater because of your golden trials, your golden disease. Everything on this present earth can produce “Gold” that we will carry with us on the New Earth! Start to see the misfortunes of this Earth as the Gold on the New Earth! “Blessed are you who weep now, for you shall laugh. Luke 6:21 “There is rejoicing in the presence of the angels of God over one sinner who repents." Luke 15:10 There is a party waiting for us! We can laugh; we can enjoy this life, even in the midst of trials and hardships, because we know we will be enjoying a party on the New Earth! All our aches and pains, difficulties, stresses and strains are but gold charms we will carry with us into the New Earth. They will hang on the wall of our new homes as trophies of God’s grace in our lives.

15. Be Your Own Life Coach! Get Unstuck, Laser Focused & More Motivated!

  • Published: 2016-02-02T14:36:44+00:00
  • Duration: 1026
  • By Vicki Adrian
Be Your Own Life Coach! Get Unstuck, Laser Focused & More Motivated!

Vicki Adrian brings a daily dose of Inspiration & Education for Remarkable Retailers and Savvy Entrepreneurs. In today's "Scope, Episode #125", Vicki shares an article that professional Life Coaches from around the country suggest as ways to find more work/life balance in your own life. Today’s Episode is inspired by an article in a magazine that my friend and co-worker, Sandy Brooks recently gave me. It caught my attention because I have often wondered what it would be like to have a Personal Life Coach to keep me on the straight and narrow! After reading it, I thought it would make a great Periscope Episode…so here we go! 1. What would I see in a snapshot of my BEST self? Before you start making goals for yourself, be sure you know what end result you’re hoping for. “Start with your vision of what you want most in life.” Suggests Linda Smith, a physician assistant. Think basic – how you look (slimmer? Well rested?) whay you’re doing (creating? Traveling?) then go deeper. Imagine how you feel, who you’re with, where you are and more. Let this image be the end point on your road map to change. 2. Which of my values have a put on the back burner? Health? Respect? Honesty? When life feels off track, it’s often because we’ve become less intentional about living according to our own values,” says Derrick Carpenter, a life coach and expert with “by indentifying what values you’ve let slip, you can regain your intentionality and boost your happiness.” You may have a lucrative career, for example, but if you’ve sacrificed personal growth at work, you may be ready for a more meaningful pursuit. If you’re feeling lonely despite a long list of acquaintances, it may be time to build deeper friendships. 3. Is this a “should” or a “want”? You may not realize it, but your bucket list has two types of entries: things you really desire for yourself and things you think you should desire but actually don’t. “To figure out the difference, take the word “should” out of your thoughts and statements and replace it with the word “want.” Says Tricia Huffman, life coach and founder of Should you do yoga, or do you want to do yoga? Should you bake those brownies from scratch, or do you want to? This simple trick can help you sort through your time priorities. The earlier you realize you don’t actually want to meditate, the sooner you can start working toward getting better at photography or another interest. 4. How can I be kinder to myself? If you hear, “Why can’t I do this?” or “Why don’t I have any self-control?” each time you slip up, your internal dialogue may be more harmful than your actions. “Judgmental questions can send you into a downward spiral.” Says Marilee Adams, PhD, a life and executive coach and author of Change Your Questions, Change Your Life. Beat yourself up enough about eating a doughnut and you may feel bad enough to splurge on another. Next time, skip the togue-lashing and get curious about your actions and motivations. Ask, “How can I make a better choice next time?” or “What am I really upset about?” By bringing compassion to yourself and getting to the root of what’s derailing you, you’ll be better able to reduce the slip-ups. 5.Could I be Sabotaging my Success? “People lose their motivational mojo because they never learn to keep promises to themselves, “ says Lauren Zander, founder of the Hadel Group, a coaching company in New York City. “You’ll always take your kids to practice, for example, but you’ll skip taking yourself to the gym.” To break this cycle, Zandor asks clients to envision a 30-day boot camp that would change their lives. Want to be a better cook? Broaden your knowledge in the kitchen once a day for a month, whether that means trying a new knife skill from YouTube or teaching yourself to cook a dish without a recipe. Want to start a new business? Set aside an hour each day to create a proposal. If you stay focused, you may even reach your objectives by Day 30. Pat yourself on the back and then gear up for your next goal. After all, that business proposal isn’t going to pitch itself! Today’s ACTION Plan: It always comes down to Action, doesn’t it? Each episode of the Remarkable Retailer ends with today’s Action Plan. When we intentionally set aside a couple of hours a day to work on specific parts of our business, we make progress towards our goals. I don’t know if you or I will ever have a Professional Life Coach pushing us towards a finish line, but I do know that those daily action steps are what get us closer than we would ever be if we didn’t have a goal. So what will you work on today? What micro step can you take towards your goal? Do you have goals set for 2016? Do you have an accountability partner? Vicki Adrian [email protected]

16. Adioso + Ashley Colburn: The Istria Experience

  • Published: 2014-06-29T14:59:49+00:00
  • Duration: 434
  • By Adioso
Adioso + Ashley Colburn: The Istria Experience If I were to describe the perfect man, he would be calm, charming, love good food and wine, be a bit mysterious, and make me feel like I was living in a fairy tale. Sounds too good to be true, right? Call me crazy, but my heart flutters when I hear the word Istria. Who would have thought that after traveling the world I would fall head over heels in love with a place? Well I did, so let me tell you why. It’s always good when something or someone exceeds your expectations and while this happened to me many times throughout my travels in Croatia, my heart skipped a few beats when I stumbled across this charming region. It was back in 2010 when I filmed a sequel to WOW Croatia for my new series at the time, TAKEOFF with Ashley Colburn. The first town I was introduced to has been referred to many times as my favorite city; this place is Rovinj. This colorful fishing village was once an island and is surrounded by a spectacular archipelago. The church of St. Euphemia is perched at the top of the quaint town and today holds the sarcophagus of St. Euphemia. La Grisia street is full of locals artwork and jewelry and the stone pathway looks as if it’s out of a movie. Local restaurants carry fresh fish and salad and have breathtaking views of the beautiful Adriatic. The first impression with my new love was great and it has continued to grow and blossom into a bit of an obsession. The hilltop towns throughout Istria were built for defense reasons and most have a church peaking through the center skyline. Perfectly situated, traveling by car through Istria is a great way to see the landscapes. These fairy tale looking towns such as Groznjan, Opatalj and Motovun hold tiny shops and restaurants all specializing in local specialties. The region itself has four different types of soil that make the land rich with minerals to grow some of the finest grapes, olive oil and of course, the mysterious truffle. I strongly believe that sometimes the way to a significant other’s heart is through food and wine, and these grounded roots below the soil are strong. Home to two different grape varietals, the region holds the white malvasija and the red teran. I enjoy every time the wine touches my lips. Producers like Kozlovic and Kabola have top of the line facilities for guests to tour, learn and taste these unique flavors. Anything mysterious leaves most people wanting more and more and this is exactly what this Istrian specialty does, both before its found and after its been eaten. The only three places in the world where truffles can be found are France, Italy and Istria! The soil produces both black and white truffles, a mysterious mushroom that grows around oak trees. In Istria the dog finds the truffle and this is something everyone must experience. Put your walking shoes on and get ready to chase the dogs through the oak trees as their nose detects this aroma that lies below the soil. Once the dog smells the truffle they will begin to dig and it is up to the hunter to stop the dog before it becomes too late. Carefully the hunter will store the truffles in paper towels and keep the dirt on the truffle until it will be prepared. Truffles go great with pasta, meats I’ve even had it on some ice cream. The most exclusive and highly valuable truffle can be found in Istria between the months of September-December. A truffle hunt will be a unique experience for all and when you taste it- well, personally I believe you will hate it or love it. I LOVE IT…obviously! Another event that brings the love of people and their land together is during the harvesting of olive oil. From sunup to sundown friends and family gather in the fields to pick the olives and watch the olives turn to oil. It’s a time where everyone lends a hand and enjoys making the oil that they know will be soon be on their table. During the Roman Times, olive oil was seen as gold and in a way today to the Istrians still treat it as a precious gift. While the monetary value today is not as much as gold, it still holds a value to the people. At every table in Istria you will find a bottle and it will be made with love and care. Through the years I have returned to Istria many times and every time noticed the hospitality was top notch. The love that the Istrians have for their land is shown in every sip of wine you drink, dish you eat or olive oil you taste. I fell in love with Istria at first sight, but I’ve gotten to know Istria so well that I believe my love will last forever.

17. New Class This Week! // March 26, 2017 // VIDEO ANNOUNCEMENTS

New Class This Week! // March 26, 2017 // VIDEO ANNOUNCEMENTS

First, we have a brand new Wednesday night class called "Recognizing Your Spiritual Gifts" beginning this Wednesday! This class focuses on finding your Spiritual Gifts and learning how to live with them. Be sure to bring $11 for the book, and sign up at the information booth or online. Then, our next Ladies Night Out is on Friday, April 7th beginning at 7pm! The ladies will be making mosaic crosses. You will just need to bring $5 and all materials will be supplied, so join the ladies for this fun night of craft and games on April 7th! Then, our next Capstone Connections Membership Class is on Sunday, April 23rd, from 5pm to 8pm! This class will give you the opportunity to meet our pastors, learn more about our church and its mission, and there will also be free dinner and childcare! Simply sign up at the information booth in the lobby, or online! Next, our annual Thrive Ladies’ Retreat is one month away! It will be held on April 28th and April 29th at the Riverbend Retreat Center in Glen Rose! For an all inclusive cost of $75, the ladies will enjoy a variety of activities, and also meals during the retreat. Be sure to sign up at the information booth, or online at! And finally, Easter week is just one month away! To start it off, join us on April 9th for Palm Sunday. We will be hosting a Kids Fundraiser Lunch after service, and will now be serving hamburgers and hotdogs for $8. The kids will each receive their own bag of candy after service, and there will be a bounce house and other outdoor activities for the kids to enjoy! We could use candy donations to help bless our kids, so grab a bag or two next time you’re at the store and drop them off at any of our donation bins located around the building! Then we have our Passover Celebration on Wednesday, April 12th, but this year, we are doing things a little different. We are hosting a Passover themed Potbless Dinner in the foyer, with foods such as fish and poultry, brisket, potatoes and sweet potatoes, soups, quinoa, salads, asparagus, and the like. Dinner will be followed by a quick teaching from Pastor Parkey on Passover. For the food, if you last name begins with A-H, please bring a side dish; if your last name begins with I-N, bring a dessert, and if your last name begins with O-Z, please bring a main dish. Invite your family & friends and join us for this family potbless dinner on April 12th. Also, check out these links for ideas on what food to bring: Next, join us for our Good Friday service on Friday, April 14th in the sanctuary. The service will be an hour long, and will include worship, as well as some other special things. And lastly, join us for Easter Sunday on April 16th as we celebrate that Christ is alive! With a goal that each one, reach one, we encourage you to not just invite your family, friends, and coworkers, but to also go out and invite people you don’t know so they can hear the Word of God! Christ is risen and we can’t wait to share this Gospel word, bring glory to God, and expand His Kingdom! Check us out and share us with your family & friends! Website: Twitter: Facebook: Vimeo:

18. Jamie DeRosa / Tongue & Cheek

  • Published: 2013-05-30T15:02:17+00:00
  • Duration: 373
  • By Chat Chow TV
Jamie DeRosa / Tongue & Cheek

South Beach just got even cheekier. Over in the South of Fifth neighborhood, collaborators Jamie DeRosa and Michael Regenbogen are reconstructing our notions of what constitutes a contemporary American dish. “Tongue & Cheek to me is whimsical, it’s fun,” explains DeRosa. “We have a play on words on a lot of things. We have a pudding pop on the menu that’s a popsicle. It started out as a chocolate popsicle and someone said, ‘This is better than a Bill Cosby pudding pop.’ And that became the name.” Other mouthfuls on the menu include a Beef Cheek burger that arrives sans the usual trappings (no lettuce, no tomato, no onion). “No frills, no thrills,” as DeRosa says. Of course, DeRosa and his team are serving up plenty of cheek and tongue variations, including a poutine. Even the cocktail names are creative. Try a Bourbon for Apples, with bourbon-soaked apple ice cubes floating in a cooling concoction, or the strawberry-and-gin-based Walking Dead (DeRosa is a fan of the AMC television hit). Like any good South Beach establishment, Tongue & Cheek also features a molecular margarita with an overflowing liquid nitrogen preparation. “I think the name and the ambiance and the more welcoming vibe that you get when you come into Tongue & Cheek matches the food,” DeRosa explains. “For us it was important to have art and music and food and service be one.” It’s all in an effort to keep Tongue & Cheek a neighborhood hangout that appeals to locals. For instance, every day at 5pm, guests can sit down for a family-style meal of comfort-food morsels like grilled cheese and hoagies. It’s Tongue & Cheek’s way of giving back to the community. Check out the video above to get a glimpse of the restaurant’s witty art by local Miamian Claudio Picasso and hear what’s on the daily-rotating family meal menu. Then stop in and grab a seat at the snack bar serving nostalgic bottled sodas and made-to-order small plates presented in old-school cafeteria trays. They have tongues wagging.

19. DISH - I Can Hear [1280x720 H264 AAC]

  • Published: 2017-04-28T04:35:34+00:00
  • Duration: 251
  • By xy

20. How to Make Thai Chicken Salad - Tasty and Easy Recipe

  • Published: 2017-08-13T15:01:54+00:00
  • Duration: 60
  • By Blondelish
How to Make Thai Chicken Salad - Tasty and Easy Recipe

This Thai chicken salad recipe is the epitome of healthy meals. And it’s sooo easy to make. Grab the recipe from: This is the perfect make-ahead meal as you can make a large batch, store it in airtight containers, and serve the following days. I could say that this Thai chicken salad is perfect for summer, but after gobbling it up I think it’s great for any season, any time, any day. Do you have a favorite dish, that you could eat any time, any day? And is it healthy, like this chicken salad? Can’t wait to hear all about it. Follow for more recipes: Website: Facebook: Instagram: Pinterest: Twitter: Google+: