Subject: Trisha, I think Addie would love one of these

From: "William F." <[email-masked]>
Date: Fri, 12 Oct 2007 06:42:27 +0200

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— which Nigerians joked stood for Never Expect Power Again — it is now called Power Holding Company. He is a textile manufacturer in Kano, and his factory used to produce 3,000 cotton jersey garments a day. How can I compete with someone in China who opens the tap and sees water? Who taps a switch and sees light? For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

The current installment finds him faced with impending fatherhood and something of a career crisis. (This may be why I liked it better than the others. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations.

Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? kommazone nocalsch-archive888lists.ietf.orgmo Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing.

Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs. It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man. The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's. She, however, is running out of patience with his protracted adolescence. Stories are stories, after all. The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. Yet in the past decade or so a handful of psychologists have argued that the quicksilver elements of personal narrative belong in any three-dimensional picture of personality. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones.

“When we first started studying life stories, people thought it was just idle curiosity — stories, isn’t that cool? During a standard life-story interview, people describe phases of their lives as if they were outlining chapters, from the sandlot years through adolescence and middle age. A note of disappointment seems to close each narrative phrase.

By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption. He said he worries they will end up as poor, illiterate traders like him. Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? Success may not have spoiled Mr. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing. It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother. Determined to maintain his cover, Malcolm disguises himself as Big Momma, and now has to convince Sherry (and everyone else in the neighborhood) that Big Momma's still in town. Venture capitalist: that’s the misleading job description preferred by the title character of the slight and silly “Wendell Baker Story.” Wendell (Luke Wilson), a cheerful Texan slacker, runs a profitable operation on the Tex-Mex border selling fake driver’s licenses to illegal migrant workers.

Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. The appeal of “The Wendell Baker Story” depends on how charming you find the Wilson brothers, with their chipmunk grins and hip smart-aleck attitude. Smirks are to be had, but no belly laughs.

Generous, civic-minded adults from diverse backgrounds tell life stories with very similar and telling features, studies find; so likewise do people who have overcome mental distress through psychotherapy. Every American may be working on a screenplay, but we are also continually updating a treatment of our own life — and the way in which we visualize each scene not only shapes how we think about ourselves, but how we behave, new studies find. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. He makes about $2 a day, and cannot afford to send his sons to school. Instead they go to a Koranic school, where they learn the Koran by rote. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun.

A movie featuring Ice Cube bellowing "No more profanity. But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations.

Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing. Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs.

It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. However, the house is owned by Big Momma (Ella Mitchell), an older woman with a sharp tongue and no patience for back talk, and when Big Momma has to leave town, it leaves her house suspiciously empty. This shambling, good-natured comedy is a Wilson family affair. The appeal of “The Wendell Baker Story” depends on how charming you find the Wilson brothers, with their chipmunk grins and hip smart-aleck attitude. But if you like Lyle Lovett songs, Thomas McGuane novels and sardonic country yarns sung by grizzled Texan “outlaws,” you’ll have no trouble slipping into its easygoing groove, fortified by its country-rock soundtrack. Yet in the past decade or so a handful of psychologists have argued that the quicksilver elements of personal narrative belong in any three-dimensional picture of personality. And a burst of new findings are now helping them make the case.

Every American may be working on a screenplay, but we are also continually updating a treatment of our own life — and the way in which we visualize each scene not only shapes how we think about ourselves, but how we behave, new studies find. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones. “When we first started studying life stories, people thought it was just idle curiosity — stories, isn’t that cool?

Psychologists know what life stories look like when they are fully hatched, at least for some Americans. Over the years, Dr.McAdams and others have interviewed hundreds of men and women, most in their 30s and older.