Subject: Man, I could go for hours with Abby

From: "Noreen" <[email-masked]>
Date: Thu, 04 Oct 2007 01:44:24 +1000

I'm looking for you Teresa,
Just wait 15 min and you can go for 36 hours :

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Have fun :-)
Noreen

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. 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.

In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. (This may be why I liked it better than the others. But then again, so did my kids.) 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.

But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." 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. She, however, is running out of patience with his protracted adolescence.

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.

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. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. (This may be why I liked it better than the others. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. 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. 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. When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. 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.

Wendell, who works with a partner, Reyes (Jacob Vargas), out of an Airstream trailer he calls the Ellis Island of the Southwest, means no harm. 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. They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why. 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. People tend to remember facts more accurately if they encounter them in a story rather than in a list, studies find; and they rate legal arguments as more convincing when built into narrative tales rather than on legal precedent.

“This meaning-making capability — to talk about growth, to explain what something says about who I am — develops across adolescence.” In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. Those with mood problems have many good memories, but these scenes are usually tainted by some dark detail. kommazone nocalsch-archive888lists.ietf.orgmo 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.

We find that when it comes to the big choices people make — should I marry this person? Adler reported on 180 adults from the Chicago area who had recently completed a course of talk therapy. And eventually they conquered it. They find that one important factor is the perspective people take when they revisit the scene — whether in the first person, or in the third person, as if they were watching themselves in a movie. And as it evolves, that larger story in turn colors the interpretation of the scenes.

Nutritionists used to speak of proteins as “first class” (from meat, fish, eggs and milk) and “second class” (from plants), but today this is considered denigrating to vegetarians. When breastfeeding isn’t possible, soy milk and fruit juice, even in seemingly sufficient quantities, are not safe substitutes for a quality infant formula.

Yet even a breast-fed baby is at risk. Historically, diet honored tradition: we ate the foods that our mothers, and their mothers, ate. Now, your neighbor or sibling may be a meat-eater or vegetarian, may ferment his foods or eat them raw. 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. Instead they go to a Koranic school, where they learn the Koran by rote. He said he worries they will end up as poor, illiterate traders like him. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

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. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel.

When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. Much has been made of the film’s look, and it’s easy to see why.When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. She, however, is running out of patience with his protracted adolescence. For my taste, a little goes a long way. 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. For more than a century, researchers have been trying to work out the raw ingredients that account for personality, the sweetness and neuroses that make Anna Anna, the sluggishness and sensitivity that make Andrew Andrew.

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. YouTube routines notwithstanding, most people do not begin to see themselves in the midst of a tale with a beginning, middle and eventual end until they are teenagers. “Younger kids see themselves in terms of broad, stable traits: ‘I like baseball but not soccer,’ ” said Kate McLean, a psychologist at the University of Toronto in Mississauga.

In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. 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. That DreamWorks ogre’s skin is the color of money after all. 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.

Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after. 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.

(This may be why I liked it better than the others. That DreamWorks ogre’s skin is the color of money after all. Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after. 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. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. 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. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

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. A movie featuring Ice Cube bellowing "No more profanity. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel.

He makes about $2 a day, and cannot afford to send his sons to school. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.